英文名称：The Pixar Story
年代：2007
推荐：千部英美剧台词本阅读
| 时间 | 英文 | 中文 |
|---|---|---|
| [02:07] | For the last 20 years, a group of artists and scientists | 过去二十年来 一群画家和科学家 |
| [02:11] | have transformed two-dimensional drawings | 已经将二维世界的图画 |
| [02:13] | into their own three-dimensional worlds. | 转化成他们特有的3D立体世界 |
| [02:45] | The art challenges technology, | 艺术挑战科技 |
| [02:47] | technology inspires the art. | 科技则启发艺术 |
| [02:51] | The best scientists are just as creative | 最好的科学家与工程师 |
| [02:53] | and engineers as the best storytellers. | 和最好的作家一样有创意 |
| [02:55] | We’ve got characters that we want to come alive. | 我们想让它们变成栩栩如生的角色 |
| [03:02] | Transforming the hand-drawn line into a new art form | 将手绘的线条转换成新的艺术形式 |
| [03:05] | was no easy task. | 并不是一件容易的工作 |
| [03:07] | Over the last 20 years, these artists faced struggles | 过去二十年来 这些画家们随时都要面对困难 |
| [03:10] | and the risk of failure every step of the way. | 并且承担失败的风险 |
| [03:13] | This marriage of art and science was the combined dream of three men, | 将艺术和科学结合是这三个人的共同梦想 |
| [03:19] | a creative scientist, Ed Catmull, | 一位有创意的科学家 爱德·卡特穆尔 |
| [03:22] | a visionary entrepreneur, Steve Jobs, | 一位有远见的企业家 史蒂夫·乔布斯 |
| [03:25] | and a talented artist, John Lasseter. | 和一位才华洋溢的画家 约翰·拉塞特 |
| [03:29] | Together they have revolutionized an industry | 他们三人合力改造了一个行业 |
| [03:30] | and blazed an unprecedented record in Hollywood history. | 并在好莱坞史上缔造了前所未见的灿烂记录 |
| [03:36] | This is The Pixar Story. | 这就是皮克斯的故事 |
| [03:45] | The creative force behind Pixar Studios | 皮克斯工作室幕后的创意动力 |
| [03:48] | and the director of Toy Story, John Lasseter, | 和《玩具总动员》的导演约翰·拉塞特 |
| [03:51] | helped pioneer this new art form | 早年就喜欢为图画注入生命 |
| [03:53] | from an early love of bringing drawings to life. | 由他率领探索这种新的艺术形式 |
| [03:56] | When I was growing up, | 当我还小时候 |
| [03:58] | I loved cartoons more than anything else. | 我最喜欢的就是动画了 |
| [04:01] | And when I was in high school, | 等我念高中的时候 |
| [04:03] | I found this book, this old, ratty book, | 我发现了一本又破又旧的书 |
| [04:06] | called The Art of Animation. | 叫做《动画艺术》 |
| [04:08] | And it was about the Disney Studios | 内容讲的是迪士尼工作室 |
| [04:10] | and how they made animated films. | 和他们制作动画电影的方法 |
| [04:12] | And it was one of those things, that it just dawned on me, | 我真的非常震惊 那个时候我才明白 |
| [04:16] | people make cartoons for a living. | 有人是靠动画谋生的 |
| [04:19] | They actually get paid to make cartoons. | 他们真的用动画来赚钱 |
| [04:23] | And I thought, “That’s what I wanna do.” | 然后我也想那么做 |
| [04:25] | Right then, right there, it was like I knew that’s what I wanted to do. | 从那一刻起 我就知道 那就是我想做的事情 |
| [04:29] | In 1975, John applied to CalArts, | 1975年 约翰通过加州艺术大学的入学申请 |
| [04:32] | an art college founded by Walt Disney in 1961 . | 这是沃尔特·迪士尼在1961年创立的学校 |
| [04:36] | John was accepted into the first program | 他开始念初级课程 |
| [04:38] | that taught Disney-style character animation. | 学习迪士尼风格的角色动画 |
| [04:42] | What they were doing is bringing out of retirement all of these amazing Disney artists | 他们的做法是请已经退休的杰出迪士尼画家 |
| [04:48] | to teach this class, to get this program started. | 到教室来 不厌其烦地为我们教学授课 |
| [04:51] | It dawned on me pretty quickly how special this was. | 我很快了解这是多么特别的事情 |
| [04:57] | Among John’s classmates | 在约翰的同学当中 |
| [04:58] | were future directors Tim Burton, John Musker | 有未来的导演 蒂姆·波顿 约翰·马斯克 |
| [05:04] | and Brad Bird. | 和布拉德·伯德 |
| [05:06] | Everyone was kind of on fire about animation. | 大家都对动画非常着迷 |
| [05:08] | We didn’t wanna leave it at the end of the day. | 一天的课程结束时 我们都不想离开 |
| [05:11] | And none of us had cars, so, we were kind of stuck there. | 我们都没有车 所以我们就逗留在学校 |
| [05:16] | When the teachers went home, we taught ourselves. | 老师们回家以后 我们就自学 |
| [05:22] | It was a very collaborative spirit at CalArts. | 当时的加州艺术大学 有一种大家互相切磋的精神 |
| [05:24] | Everybody showed everybody their film | 每个人都把自己的影片拿给大家看 |
| [05:27] | and everybody was kind of their own director. | 每个人都可以算是一个导演 |
| [05:29] | But it was totally supportive | 但是大家绝对互相支持 |
| [05:31] | and you’d get creative ideas from the other people. | 你可以从其他人身上获得灵感 |
| [05:33] | And we all learned as much from each other | 我们从彼此身上学到的 |
| [05:35] | as we did from the instructors. | 就跟从老师那里学到的一样多 |
| [05:37] | The teachers at CalArts were none other than | 加州艺术大学的老师来头不小 |
| [05:39] | Disney’s legendary collaborators from the 1930s, | 他们是20世纪30年代 迪士尼创立初期传奇人物 |
| [05:42] | known as the “Nine Old Men,” | 也就是所谓的九大元老 |
| [05:44] | who taught the essence of great character animation. | 他们教授角色动画的精髓 |
| [05:48] | We call it the warmth. | 我们称之为温暖 |
| [05:50] | We call it the inner feelings of the character. | 角色的内在感受 |
| [05:53] | It all comes back to their heart, | 重点是要回归到他们的内心 |
| [05:55] | and then how they think about it. | 他们是怎么想的等等 |
| [05:57] | And all those things. How does a character feel, and why does he feel that way? | 一个角色有什么感觉 他为何会有那种感觉 |
| [06:06] | The Nine Old Men, | 九大元老 |
| [06:07] | these guys were unbelievable masters of this art form, | 他们全是这种艺术形式中 最令人敬佩的大师 |
| [06:12] | and yet every single one of them had the attitude of a student. | 然而他们每一个人的态度都还是跟学生一样 |
| [06:19] | As a student, John immersed himself in everything Disney, | 学生时代 约翰将自己和迪士尼融为一体 |
| [06:22] | getting a summer job as a sweeper in Tomorrowland. | 暑假时间 他到明日世界 找到了一个打扫的工作 |
| [06:25] | Tomorrowland Station! All out for the Magic Kingdom. | 明日世界站 请大家下车 到神奇王国去 |
| [06:29] | Disneyland was a fantastic place to work. | 迪士尼乐园是个工作的好地方 |
| [06:31] | Everybody was young working there and it was just. . . | 工作人员都很年轻 有活力 |
| [06:33] | We had a blast. It was really, really fun. | 我们都很开心 真的非常好玩 |
| [06:37] | And he was soon promoted to a ride operator on Disneyland Jungle Cruise, | 不久 他就被升为迪士尼丛林巡航的操控员 |
| [06:41] | before returning to studies at CalArts. | 后来 他又回加州艺术大学上课 |
| [06:44] | There’s a few times in my life | 在我的人生中 |
| [06:46] | I feel like I’m in the right place at the right time. | 我有几次很巧地 出现在适当的时间和适当的地点 |
| [06:49] | And definitely when we were at CalArts, that was it. | 很明显 在加州艺术大学念书就是其中之一 |
| [06:57] | John animated two short films at CalArts. | 约翰在加州艺术大学做了两个动画短片 |
| [07:00] | Lady and the Lamp is about a lamp in a lamp store | 《淑女和灯》讲的是一家灯具店里的灯 |
| [07:03] | who accidentally replaces its broken bulb with a bottle of gin. | 不小心用一瓶琴酒更换它破掉的灯泡 |
| [07:20] | John’s second short film, Nitemare, | 约翰的第二部短片《噩梦》 |
| [07:22] | is about a boy who sees monsters when he turns out the lights. | 讲的是一个男孩 每当把灯关掉就会看到怪物的故事 |
| [07:27] | Both films received back-to-back Student Academy Awards, | 两部短片接连得到学生奥斯卡奖 |
| [07:30] | an unprecedented record that instantly propelled John into the animation spotlight. | 这个空前的记录立刻使约翰成为动画界的焦点 |
| [07:36] | JOHN DAVlDSON: This is your second year winning? | 你是连续第二年得奖了 |
| [07:37] | Yeah. | 对 |
| [07:38] | ls there a knack to making an award-winning short film for a contest, | 你的短片参加比赛都会得奖 有什么秘诀吗? |
| [07:40] | or is this the real world, could this film make it commercially? | 还是真的那么精彩? 这部短片可以商业化吗? |
| [07:45] | I think it could make it commercially, | 我认为它的确可以商业化 |
| [07:46] | because I think the knack that you’re talking about is basically entertainment. | 因为我认为你所谓的秘诀基本上就是娱乐 |
| [07:50] | I think that’s what. . .People pay money to go see a film that’s entertaining. | 人们花钱去看电影 为的就是它的娱乐效果 |
| [07:57] | John’s success landed him his dream job | 约翰的成功使他的美梦成真 |
| [08:00] | at the Walt Disney Studios. | 到迪士尼工作室工作 |
| [08:04] | Hello. I’m Randy Cartwright. | 你好 我是兰迪·卡莱特 |
| [08:05] | {\fn微软雅黑\bord0\兰迪·卡莱特 迪士尼动画师 | |
| [08:07] | And this is Ron Miller! | 这位是罗恩·米勒 |
| [08:10] | Randy, how are you? | 兰迪 你好啊 |
| [08:10] | -How are you? -Good to see you. This is Randy. | -你好 -很高兴见到你 这位是兰迪 |
| [08:12] | Great way to start the film! | 这样的开篇真是不错 |
| [08:15] | Well, we’re off to a good start. | 很好 这是一个好的开始 |
| [08:16] | Here it is, April 9, 1980. | 现在的时间是1980年4月9日 |
| [08:20] | This is the past to all you folks out there, | 对各位观众来说已经是过去式了 |
| [08:21] | and we’re gonna go inside and see what it’s like. | 我们到里面去看看情况 走吧 |
| [08:29] | Walking into the animation building | 这是用《白雪公主与七个小矮人》 |
| [08:33] | that was built with the money from Snow White and the Seven Dwarves, | 所赚的钱盖的动画大楼 |
| [08:35] | when I came in there in the ’70s, | 当我在20世纪70年代走进那里的时候 |
| [08:36] | I just sensed this history around. | 可以感受到这一段历史 |
| [08:41] | All of the experience that had gone on before | 它曾经历过的所有岁月 |
| [08:43] | was somehow impermeated into the walls. | 好像都渗透到墙壁里面去了 |
| [08:46] | Hi, Glen. How are you? This is… | 嗨 格伦 你好吗 这是 |
| [08:47] | Glen. Glen Keane. | 这是格伦·基恩 |
| [08:49] | He is our directing animator. | 他是主动画师 |
| [08:51] | Our cameraman, John Lasseter. | 我们的摄影师 约翰·拉塞特 |
| [08:54] | It was so great to meet John. | 能见到约翰真的很棒 |
| [08:55] | There was this immediate sharing of informationof your passion | 当时大家对动画又热情又兴奋 |
| [08:58] | and excitement for animation, | 人人都乐于立刻与他人分享资讯 |
| [09:00] | and he knew a lot about the history and the past. | 而他知道很多关于动画史和过去的事 |
| [09:03] | As his first animation at Disney, | 约翰在迪士尼的第一份工作 |
| [09:05] | John handled the introduction of a lead character | 是负责在1981年《狐狸与猎犬》 |
| [09:08] | in the 1981 teature The Fox and the Hound. | 这部电影中介绍一个主角登场 |
| [09:10] | Together, John and Glen collaborated on the climactic fight scene. | 约翰和格伦携手合作共同创造了高潮迭起的打斗戏 |
| [09:14] | But increasing budget cutbacks | 但是由于预算不断遭到删减 |
| [09:16] | had severely limited the multi-plane dimensional look Walt Disney | 严重限制了沃尔特·迪士尼 |
| [09:19] | had achieved decades earlier. | 在数十年前便可以做到的多样风貌 |
| [09:23] | Animation was really at a point where it seemed like | 当时的动画似乎已经沦为一种 |
| [09:25] | it was a dying art form. | 苟延残喘的艺术形式了 |
| [09:28] | All of the richness | 紧缩的预算让我们的电影 |
| [09:29] | and the atmosphere was budgeted out of our films, | 失去了丰富的色泽和气氛 |
| [09:33] | and it was so frustrating. | 这让人觉得很沮丧 |
| [09:38] | While the animation department felt stagnant, | 当动画部门陷入萧条时 |
| [09:40] | Tron, a live-action foature | 工作室为员工放映了一部 |
| [09:42] | using the latest computer technology, | 以真人为主角 利用最新电脑科技拍摄而成的 |
| [09:46] | was screened for employees at the studio. | 电影《电子世界争霸战》 |
| [09:54] | There Tron was, these light-cycles. . . | 《电子世界争霸战》中光轮车 |
| [09:57] | Moving in and out of the scene and it’s. . . | 嗡嗡嗡地在银幕上进进出出 |
| [10:00] | And we came back to my room | 我们回到我的房间 |
| [10:01] | and just sat there | 呆呆地坐着 |
| [10:02] | and the depression started to turn towards a frustration, | 原本的沮丧开始演变成一种挫折感 |
| [10:07] | like, “Well, why can’t we?” | 就像是”为何我们不行?” |
| [10:08] | “Why can’t we do that? Wouldn’t it be cool, if?” | “为何我们不能那么做 如果可以那就太酷了” |
| [10:12] | Computer animation excited me so much, | 电脑动画让我觉得很兴奋 |
| [10:14] | and not excited about what I was seeing, | 是因为我看到了它的潜力 |
| [10:16] | but the potential I saw in all this.I was just amazed by it. | 它让我觉得不可思议 |
| [10:19] | And we started thinking, | 于是我们开始想 |
| [10:20] | “Wouldn’t it be cool if we had a background that was moving like Tron did, | 要是我们的背景像《电子世界争霸战》一样可以移动 |
| [10:24] | “but we animated the character by hand.” | 可是人物依然用手工来画 |
| [10:26] | It had never been done before, | 从来没有人这样做过 |
| [10:28] | but there’s something about John | 但是约翰有某种特质 |
| [10:31] | that you kind of get the feeling that that doesn’t matter | 就是会让你觉得没有关系 |
| [10:32] | I mean, if it had never been done before, | 就算以前没有人这样做 |
| [10:33] | doesn’t mean it can’t be done. | 也不代表不能这样做 |
| [10:35] | John and Glen soon got approval | 约翰和格伦很快就得到批准 |
| [10:37] | to experiment with animation and computerized backgrounds. | 实验用电脑绘制背景的动画 |
| [10:39] | But at the studio there was a growing fear | 但是在工作室 一股害怕电脑 |
| [10:42] | that the computer was going to make animators obsolete. | 会取代动画师的气氛与日俱增 |
| [10:46] | I’d say 95% of the fellas at the studio were saying, | 我想工作室里95%的人都在说 |
| [10:50] | “You’d never get me to do anything like that, | “你休想让我做那样的事情 |
| [10:53] | they’re ruining everything!” | 他们会将一切破坏殆尽” |
| [10:55] | And I talked to John Lasseter about the things he was doing, | 我跟约翰·拉塞特讨论他所做的事 |
| [10:59] | I said, “‘Gee, if you get that much imagination | 我说”要是你不靠铅笔 |
| [11:01] | and new types of movement done on a computer, | 而能用电脑表达丰富的想象和新鲜的动作 |
| [11:04] | but not by the pencil, you’ll be ahead of the game.” | 那你就是这一行的先锋了” |
| [11:07] | The potential was there at that time, | 当时它的确很有潜力 |
| [11:10] | but no one wanted to do it except for Lasseter. | 但是除了拉塞特 没有人想那样做 |
| [11:14] | John and his story team were given the approval to develop a script | 约翰和他的故事团队获得批准 |
| [11:17] | based on the short story, The Brave Little Toaster. | 用一个短篇故事《勇敢的面包机》来编写剧本 |
| [11:20] | It would mark John’s feature directorial debut, | 这是约翰初次担任导演 |
| [11:23] | and his own opportunity to | 也是他进一步 |
| [11:25] | further explore the blending of computer and traditional animation. | 探索将电脑和传统动画相结合的大好机会 |
| [11:30] | After eight months of development, | 经过8个月的开发 |
| [11:31] | John was finally asked to present the story to the head of the studio. | 工作室的老板终于决定让约翰来向他报告进度 |
| [11:35] | They’d said, “Okay, it’s time to show the head of the studio | 他们说该让工作室老板 |
| [11:37] | at the time Brave Little Toaster.” | 看看《勇敢的面包机》的工作进度了 |
| [11:39] | So we got the presentation together, he walks in with Ed Hansen, | 我们把简报都准备好 他和爱德·汉森走进来 |
| [11:42] | and he had this scowI on his face from the beginning, no laugh, | 从一开始他就带着很别扭的表情 |
| [11:46] | we pitched the whole thing | 我们大致讲了剧情 |
| [11:47] | and he stood up and he asked, “Well, how much is this gonna cost?” | 他就站起来问 “好 这部片要花多少钱?” |
| [11:50] | And I said, “Well, it’s with computer animation, | 我说”它是电脑动画” |
| [11:53] | “it’s gonna be, you know, no more than the regular budget of a film.” | “所以应该不会超过一部电影的正常预算” |
| [11:58] | And he went, “The only reason to do computer animation | 他说”使用电脑动画唯一的理由 |
| [12:01] | “is if we could do it faster or cheaper.” | 就是能够让我们拍得更快或是更省钱” |
| [12:05] | And he walked up and he walked out. | 他就站起来 然后走出去 |
| [12:07] | And it was like, “What?” You know? | 你能了解我有多惊讶吗 |
| [12:10] | And so about five minutes later I get this call, | 大概五分钟以后 我接到一通电话 |
| [12:14] | and Ed Hansen calls me down to his office. | 爱德·汉森叫我到他的办公室 |
| [12:17] | And I come down, and he said, | 我过去以后他说 |
| [12:20] | “Well, John, your project is now complete, | “好 约翰 你的计划已经完成了” |
| [12:25] | “so your employment with the Disney Studios is now terminated.” | “迪士尼工作室跟你的雇佣关系也到此结束了” |
| [12:34] | He got let go, he got fired, | 他被解雇了 |
| [12:35] | because, honestly, the studio didn’t know what to do with him. | 因为工作室也不知道该拿他怎么办 |
| [12:38] | Even at that early day, this Disney Studio that he dreamed about working at, | 虽然他曾经梦寐以求想到迪士尼工作室工作 |
| [12:40] | 邓·哈恩 沃尔特·迪士尼动画工作室制片人 | |
| [12:42] | turned out to be a really dysfunctional place, in reality. | 但那里其实已经变成了一个效能低下的地方 |
| [12:46] | And he was a born director, he was a born leader, | 而他天生是个导演 天生是个领袖 |
| [12:49] | and his expectation and passion excelled what the studio was doing then. | 他的抱负和热情都远远超过了当时的工作室 |
| [12:55] | During a lot of the early days, artists were frightened of the computer, | 早期有很长一段时间 画家们都很害怕电脑 |
| [12:56] | 艾尔维·雷·史密斯 皮克斯创始人 | |
| [12:59] | because they were under the impression | 因为在他们的印象里 |
| [13:01] | that it somehow was gonna take their jobs away. | 电脑早晚会抢走他们的工作 |
| [13:03] | And we spent a lot of time telling people, | 我们花很多时间跟他们说 |
| [13:05] | “No, it’s just a tool, it doesn’t take. . . | “那是一个工具 它抢不走” |
| [13:07] | “It doesn’t do the creativity, that’s a misconception.” | “它不会做创意的工作 那是一种误解” |
| [13:09] | But there was this fear, and it was everywhere. | 但是这种恐惧依然存在 而且无处不在 |
| [13:14] | We interrupt this program | 我们中断正常节目 |
| [13:15] | for an important announcement. | 为您插播重要的消息 |
| [13:16] | A state of emergency has been declared | 官方宣布 现在进入紧急状况 |
| [13:18] | and the entire police force put on 24-hour duty, | 所有的警力都要进入全天候戒备 |
| [13:20] | in an effert to stop the mounting hysteria. | 尽力防止群众作出更多歇斯底里的行为 |
| [13:24] | There is no reasonable cause for alarm. | 引起恐慌的原因至今不明 |
| [13:29] | These rumors are absolutely false! | 这些传言全部都是捏造的 |
| [13:39] | The reality of technology was very different from the fear. | 现实中的科技和人们的恐惧截然不同 |
| [13:42] | It was the computer that would take us to new frontiers. | 正是电脑能将我们带入全新的领域 |
| [13:46] | I believe that this nation should commit itself to achieving the goal, before this decade is out, | 我相信这个国家应该全力以赴达成目标 |
| [13:50] | of landing a man on the moon | 在十年之内让一个人登陆月球 |
| [13:52] | and returning him safely to the Earth. | 并且让他安全地回到地球 |
| [14:02] | The space race ignited funding | 由于太空竞赛之故 |
| [14:03] | in computer research for a select number of universities around the country. | 美国几所大学的电脑研究都得到赞助 |
| [14:08] | In the 1960s, | 20世纪60年代 |
| [14:10] | the University of Utah set up one of the first labs in computer graphics, | 早期电脑绘图实验室 在犹他大学成立 |
| [14:14] | headed by the top scientists in the field. | 负责的是这个领域的顶尖科学家 |
| [14:16] | Ed Catmull, an aspiring artist, | 胸怀壮志的画家爱德·卡特穆尔 |
| [14:18] | was among the few drawn to the potential in computer graphics. | 是少数被它的潜力吸引的人 |
| [14:23] | I drew a lot, I wanted to be an animator. | 我画了很多画 我想要成为动画师 |
| [14:25] | I wanted to be an artist. | 我想要成为画家 |
| [14:26] | But at the same time, I believed that I wasn’t good enough to be an animator, | 但是同时我也认为凭我的能力不足以成为动画师 |
| [14:32] | so I switched over to physics and computer science. | 所以我转而研究物理学和电脑科学 |
| [14:35] | As soon as I took the first class, | 我才上第一堂课 |
| [14:36] | I just fell in love with it, | 就立刻爱上了它 |
| [14:37] | it just blew everything else away. | 它把其它东西都比下去了 |
| [14:38] | 爱德·卡特穆尔 皮克斯 总经理 | |
| [14:39] | ‘Cause here was a program in which there was art, science, programming, | 因为这个课程里有艺术 科学 程序设计 |
| [14:44] | all together in one place, in a new field, and it was wide open. | 他们全部合而为一 成为一个新的浩瀚辽阔的领域 |
| [14:49] | You could just go out and discover things and explore, you were right at the frontier. | 等着你踏入这个未经开发的处女地 去发掘 去探索 |
| [14:55] | Ed’s computer-animated film of his own left hand | 爱德用电脑动画 画自己的左手 |
| [14:58] | was the first step in the development of creating curved surfaces, | 是开发创造弧形表面的第一步 |
| [15:02] | wrapping texture around those surfaces, and eliminating jagged edges. | 除了要在表面上添加质感 还要除不平整的边缘 |
| [15:09] | The footage debuted years later in the science-fiction film Futureworld, | 数年后 这段影片在科幻电影《未来世界》登场 |
| [15:11] | which became the first use of | 使其成为真人演出的影片中 |
| [15:14] | 3-D animation in a live-action film. | 第一部使用3D动画的电影 |
| [15:17] | Ed graduated with a PhD | 爱德毕业时得到博士学位 |
| [15:19] | in a new technology ahead of its time. | 他所研究的是超越时代的新科技 |
| [15:22] | There was only one institution in the country | 全国只有一个机构 |
| [15:23] | willing to put millions of dollars into its further development. | 愿意投注 数以百万计的资金在它的未来发展上 |
| [15:28] | The word of any center of activity spread rapidly, | 只要你是某种活动的中心 |
| [15:29] | 艾尔维·雷·史密斯 皮克斯创始人 | |
| [15:32] | and it quickly became known that | 消息就传得很快 |
| [15:33] | the place was New York Tech. | 不久纽约理工就成了这个领域的重镇 |
| [15:37] | There the charter was “Let’s make computer graphics usable in filmmaking.” | 当时定的合约是 让电脑绘图可以运用在电影工业上 |
| [15:41] | That’s exactly what I wanted to do. | 那也正是我想做的事 |
| [15:44] | Alex Schure, the president of New York Tech, | 亚历克斯·舒尔是纽约理工的校长 |
| [15:47] | hired Ed to spearhead the new computer graphics department | 他聘请爱德到新成立的电脑绘图系担任先锋 |
| [15:50] | to develop paint programs and other tools to create art | 开发绘画程序和其他工具来协助艺术创作 |
| [15:53] | and animation using the computer. | 并将电脑运用在动画上 |
| [15:56] | Ed himself developed software called “Tween” | 爱德亲自研发出名为”Tween”的软件 |
| [15:59] | that transformed hand-drawn animation into a digital medium. | 可以将手绘的动画转换成数码资料 |
| [16:03] | Artists could now draw and paint directly into the computer. | 现在画家们可以直接在电脑上绘图着色了 |
| [16:09] | We were creating a revolution | 我们正在进行一场革命 |
| [16:10] | 亚历克斯·舒尔 纽约理工 校长 | |
| [16:12] | and the older techniques were really gonna be pass. | 旧的技术真的跟不上时代了 |
| [16:16] | These developments led Ed to the far-reaching goal | 这些发展让爱德立下远大的目标 |
| [16:19] | of someday creating the first feature-length, computer-animated film. | 将来要用电脑动画创作出第一部电影长片来 |
| [16:24] | We were impacting the conventional industry | 我们开发出的软件冲击了 |
| [16:28] | and it was gonna be tremendous because of the applications that it would have. | 当时的传统电影业 产生了极大的影响 |
| [16:35] | The applications of Ed’s developments | 爱德开发出来的程序 |
| [16:37] | led Stor Wars director, George Lucas, | 令《星球大战》的导演乔治·卢卡斯 |
| [16:40] | to see their potential in live-action filmmaking. | 看到将其运用在真人电影上的潜力 |
| [16:43] | After I did Stor Wars, | 拍完《星球大战》之后 |
| [16:44] | I decided that I would begin to move into the world of computer animation. | 我决定进入电脑动画领域 |
| [16:44] | 乔治·卢卡斯 电影导演 | |
| [16:48] | We had made this computer controlled, motion-control camera, | 我们已经做出用电脑控制动作的摄影机 |
| [16:52] | but I really wanted to get to the next level. | 但是我很想进入下一个阶段 |
| [16:54] | I had a lot of ideas | 我有很多想法 |
| [16:55] | that couldn’t be conquered in the traditional film technology. | 但是传统的拍摄技术没有办法克服其中的问题 |
| [17:00] | George Lucas brought Ed Catmull aboard | 乔治·卢卡斯请爱德到卢卡斯影业 |
| [17:02] | to form a new computer division at Lucasfilm | 成立一个新的电脑部门 |
| [17:05] | to invent digital production tools, | 研发数码制作工具 |
| [17:07] | including a new digital-editing system called EditDroid, | 包括一套新的数码剪辑系统 名叫EditDroid |
| [17:11] | a digital sound system, | 一套数码声音系统 |
| [17:12] | a laser scanner | 一部激光扫描仪 |
| [17:13] | and a powerful graphics computer. | 和一部功能强大的绘图电脑 |
| [17:19] | Ed recruited the most talented team of computer scientists | 爱德征召了一批最有才华的电脑科学家 |
| [17:22] | to create the futuristic tools for Lucas. | 为卢卡斯创造领先于时代的工具 |
| [17:27] | Everybody who did it got there in some really odd way. | 每个人踏进这一行的方式都有些奇怪 |
| [17:29] | People came from architecture, from physics, | 有的人来自建筑业 来自物理学界 |
| [17:32] | 罗博·库克 皮克斯 技术指导 | |
| [17:32] | from art, from computer science, from everywhere, | 艺术界 电脑科学家 无奇不有 |
| [17:34] | and somehow ended up in this new area. | 最后却都聚集在这个新的领域中 |
| [17:37] | At that time there was almost no graphics, it was a pretty small thing. | 当时几乎还没有电脑绘图 它的规模还很小 |
| [17:41] | And we were inventing the techniques we were using. | 我们是在发明我们要用的技术 |
| [17:46] | We had no computers. | 我们没有电脑 |
| [17:47] | 威廉姆·里弗斯 皮克斯 高级技术指导 | |
| [17:47] | My wife remembers those days because I came home at night, right? | 我太太还记得那段时光 因为我晚上都会回家 对吧 |
| [17:51] | You know? I didn’t have any computer | 可知 我没有电脑可以用 |
| [17:52] | to stay and hack on or anything like that, | 可以玩 或是做别的事 |
| [17:54] | so I’d come home at regular hours | 所以我会在正常时间下班 |
| [17:57] | and she woes the days when we started getting computers | 等我们分配到电脑的时候 |
| [17:59] | and I would get carried away. | 我会玩得忘了时间 她很伤心 |
| [18:02] | They really were kind of the outlaw outfit, the rebel group, | 他们可以说是一群特立独行 桀骜不驯的人 |
| [18:06] | and so that was kind of fun | 所以很有趣 |
| [18:07] | because, you know, we were doing all these things | 因为我们做的那些事情 |
| [18:10] | that nobody really understood the value of. | 别人都不了解它们的价值 |
| [18:16] | There was a big breakthrough to start doing things | 当电脑开始能做更有艺术性的事情时 |
| [18:19] | that were more artistic. | 真的是一大突破 |
| [18:20] | Vol Llbre, Loren Carpenter’s film in 1980, | 罗伦·卡朋特在1980年 拍出《Vol Libre》 |
| [18:23] | was a huge deal, | 是一件大事 |
| [18:24] | and not just because it illustrated his academic technique, | 它不仅展现了他的学术技巧 |
| [18:28] | but it was a huge deal because it was a work of art. | 它之所以重要 也因为它是个艺术杰作 |
| [18:32] | I’ve always been interested in what’s possible, | 我一直对电脑的可能性很有兴趣 |
| [18:34] | and, what’s beyond the boundary of what’s known. | 想知道在目前的界限以外 它还能做什么 |
| [18:34] | 罗伦·卡朋特 皮克斯 资深科学家 | |
| [18:37] | When I came to Lucasfilm, these people were all very good, | 所以我加入卢卡斯影业 这些人非常历害 |
| [18:41] | and it was refreshing and exhilarating. | 实在让人耳目一新 让人充满斗志 |
| [18:44] | Even in those days, everybody’s dream | 即使在那个时候 大家的梦想 |
| [18:46] | was to make a feature-length movie with computers. | 都还是用电脑做出一部电影长片 |
| [18:49] | At least all of us, that was what we wanted to do. | 至少我们所有的人都想那么做 |
| [18:52] | Even though it seemed impossible at the time. | 只是那时候似乎很不可能 |
| [18:57] | If you wanna make a picture of the world, | 如果你想画一张世界地图 |
| [18:58] | 罗伦·卡朋特 皮克斯 资深科学家 | |
| [18:59] | you somehow have to get all that data in the computer. | 就得设法把所有数据输入到电脑里面 |
| [19:02] | All the geometry, no matter what, whether it’s hairs or skin or whatever, | 所有的几何资料 不管它是不是重要 |
| [19:06] | is broken down into millions of little triangles | 都得拆解成数以百万计的小三角形 |
| [19:09] | that are so small they would just be a speck on the screen. | 而且它们小到在银幕上只是一个小点而已 |
| [19:13] | The group soon realized | 这群人很快便发现 |
| [19:14] | it would take not thousands, | 想做出如今人们在动画电影中 |
| [19:17] | but millions of triangles to create the photo-realistic images | 所看到的写实画面所需要的不是数千个三角形 |
| [19:21] | that compose the animated films we see today. | 而是数以百万计的三角形 |
| [19:23] | It was an absurd number. | 那是个很荒谬的数字 |
| [19:23] | But it was meant to be an absurd number, | 它本来就应该是一个荒谬的数字 |
| [19:26] | because if you throw some big numbers at something | 因为当你从比较宏观的角度来看事情时 |
| [19:29] | and then you have to be able to handle them, | 要能够掌握它们才行 |
| [19:30] | then it makes you think about the problem in different ways. | 它让你用不同的方式来思考问题 |
| [19:33] | Right then and there, that changed our whole, you know, kind of mindset about the sort of problem that we were trying to solve. | 当时 为了设法解决所面对的问题 |
| [19:44] | The group got the chance to prove their abilities | 我们的整个思路都因此扭转了 |
| [19:46] | when Lucas’ special-effects division, lndustrial Light and Magic, | 当卢卡斯的特效部门工业光魔 |
| [19:50] | could not achieve a shot using conventional film means. | 无法用传统的拍摄方法完成一个镜头时 |
| [19:53] | Alvy Ray Smith led the group | 艾尔维·雷·史密斯率领团队 |
| [19:54] | to create a spectacular sequence | 利用他们的才华和先进的技术 |
| [19:56] | using all their talents and advanced techniques. | 创造出了一段壮观的画面 |
| [20:01] | The camera’s spinning and spiraling and jerking and panning. | 镜头回转 旋转 前后移动 拉近 推远 |
| [20:04] | It’s going through amazing motions, | 动作让人啧啧称奇 |
| [20:06] | completely impossible for a gravity-bound, real camera. | 这都是受到重力限制的实体摄影机不可能做到的 |
| [20:11] | I think Ed and Alvy realized, in order to get in the game, | 我想爱德和艾尔维都体认到要立足这个行业 |
| [20:14] | we’ve got to put characters up on the screen, | 我们一定要人物登上银幕 |
| [20:16] | and that meant character animation, | 也就是要做角色动画 |
| [20:18] | and that changed everything right there. | 这个决定变了一切 |
| [20:28] | I had gone to this computer graphics conference at the Queen Mary. | 我去玛丽皇后号参加一场电脑绘图会议 |
| [20:32] | I’ll never forget it. | 这件事我永远忘不了 |
| [20:33] | We walk in and I was just so depressed, | 我们去的时候我很沮丧 |
| [20:35] | ’cause, like, all these dreams for the last two or three years kind of were shattered. | 因为过去两三年来的所有梦想全都已经粉碎了 |
| [20:39] | And Ed Catmull was a speaker at this conference, | 爱德是那场会议的一位讲师 |
| [20:43] | and he comes up and he was so excited, | 他走过来 很兴奋地说 |
| [20:45] | “How’s Toaster going? How’s Brave Little Toaster going?” | “面包机怎样了 勇敢的面包机做得怎么样了” |
| [20:47] | You know, all that stuff, | 你已经知道发生了什么吧 |
| [20:48] | and I go, “Well, to be honest, they shelved it.” | 我说”老实说 它被搁置了” |
| [20:52] | He told me that he was leaving Disney. | 他告诉我他要离开迪士尼了 |
| [20:55] | He didn’t tell me the circumstances, | 他没有把具体情况告诉我 |
| [20:56] | but that he was leaving Disney. | 不过他说他要离开迪士尼了 |
| [20:58] | And we spent a long time | 我们花了很长的时间 |
| [21:00] | talking about what we wanted to do, and what the possibilities were, | 来讨论我们想做的事 以及成功的机会有多少 |
| [21:03] | because this is the first time | 因为这是我们第一次 |
| [21:05] | we really had a chance of getting a real animator. | 有机会碰到一个真正的动画师 |
| [21:08] | We couldn’t get them at Lucasfilm. | 在卢卡斯影业 没有这种人才 |
| [21:11] | John was hired on the spot into Lucasfilm’s Bay Area computer division, | 约翰当场就被邀请到卢卡斯营业的湾区电脑部门 |
| [21:16] | under the inconspicuous title of “interface designer.” | 他的职衔是很不起眼的界面设计师 |
| [21:21] | I came in there and immediately | 我一进去马上就对周围所有人非常敬畏 |
| [21:23] | I was intimidated by all the people that were around me. | 因为我的身边到处都是博士 |
| [21:25] | I mean, there were PhDs everywhere around me. | 他们都是博士啊 |
| [21:29] | Our group was in love with animation, and we knew a lot about animation. | 我们的团队酷爱动画 我们对动画懂得很多 |
| [21:33] | We couldn’t animate very well, but we understood it. | 我们画得不是很好 但我们都了解它 |
| [21:39] | And the first thing they did is they really challenged me | 他们做的第一件事情 是让我面对真正的挑战 |
| [21:42] | with the idea of, “Let’s try to do a little film with characters that are done with a computer.” | 他们想要用电脑做出一部有人物的短片 |
| [21:48] | I was inspired looking at the limitations of what I had to work with, | 看着有限的素材 让我得到灵感 |
| [21:52] | and then I went back and looked at the early Mickey Mouse. | 我回头仔细研究早期的米老鼠 |
| [21:55] | It’s geometric shapes. How more geometric can you get than Mickey Mouse? | 它只有几何形状 还有什么比米老鼠更单纯的 |
| [21:59] | So I just started drawing, and I created this little character. | 于是我开始画 创造出这个小角色 |
| [22:02] | His name is “André .” | 他叫安德列 |
| [22:21] | John inspired the technical team to create new software | 约翰激励技术团队研发出新的软件 |
| [22:23] | that would enable him to animate | 让他能够画出他在传统动画中 |
| [22:25] | the squash and stretch movements he learned from traditional animation. | 学到的压扁和拉长的动作 |
| [22:29] | The results were new flexibility, motion blur | 让画面更有弹性 动作模糊性更高 |
| [22:33] | and character action never before achieved through the computer. | 让角色的动作达到电脑动画前所未有的水准 |
| [22:36] | I loved working with these guys, and I kept challenging them. | 我喜欢跟这些家伙合作 我不断挑战他们 |
| [22:40] | And then I was so inspired by all the work that they were doing. | 然后我又因为他们所作的工作而得到灵感 |
| [22:43] | So it’s become this way of working that the art challenges technology, | 后来我们的工作模式变成艺术挑战科技 |
| [22:46] | technology inspires the art. | 科技则启发艺术 |
| [22:49] | John and computer scientist Bill Reeves | 约翰和电脑科学家比尔·里弗斯 |
| [22:52] | put their animation skills to the test | 一边测试他们的动画技术 |
| [22:54] | while working with Lucas’ traditional special effects division, ILM, | 一边和卢卡斯的传统特效部门工业光魔合作 |
| [22:58] | to bring a stained-glass man to life through the computer. | 利用电脑让一个彩色玻璃人栩栩如生 |
| [23:05] | It was really amazing, | 真的很不可思议 |
| [23:06] | 丹尼斯·穆伦 工业光魔 视觉特效师 | |
| [23:06] | the meeting of these two completely different backgrounds coming together. | 两个背景完全不同的人 竟然能够密切配合 |
| [23:26] | You could just design the thing exactly the way that your mind conceived it, | 你可以完全照你心中的构想来做设计 |
| [23:31] | not only shape-wise but also lighting-wise, or anything. | 不仅仅是形状可以 连灯光 和其他部分都可以 |
| [23:36] | The visual effects were nominated for an Academy Award, | 作品的视觉效果得到奥斯卡金像奖提名 |
| [23:39] | and many Hollywood special effects wizards | 许多好莱坞的特效专家 |
| [23:41] | had no idea how it was done. | 连它是怎么做出来的都不知道 |
| [23:44] | There were areas they could go to that they couldn’t even consider in traditional special effects. | 他们愿意在传统特效不想花心思的领域里钻研 |
| [23:49] | Ed’s group really equaled change. | 爱德的团队的确带来了改变 |
| [23:52] | To improve speed and resolution, | 为了提升速度和分辨率 |
| [23:54] | Ed’s team developed the Pixar lmage Computer, | 爱德的团队研发出皮克斯影像电脑 |
| [23:57] | the most powerful graphics computer of its day. | 那是当时功能最强的绘图电脑 |
| [24:00] | lts software transformed high-resolution imagery into 3-D, | 它的软体将高分辨率的影像变成立体图形 |
| [24:04] | and was used in medical imaging and satellite photo analysis. | 可以运用在医学造影和卫星照片分析上 |
| [24:08] | But after years of trying to | 但是年年都得在有限的市场 |
| [24:10] | sell their high-end computer software to limited markets, | 推销他们先进的电脑和软件 |
| [24:13] | George Lucas’ interest was growing thin. | 使乔汉·卢卡斯的兴趣转淡 |
| [24:16] | I think it was very esoteric and it was very hard to make a business out of that. | 我认为它非常奥妙 但是很难利用它来牟利 |
| [24:19] | So once we had the EditDroid and we had all the things we needed, | 所以当我们有了EditDroid和必要的东西以后 |
| [24:23] | then I decided that I didn’t want to run a company that sold software. | 我决定不想经营一家卖软件的公司 |
| [24:28] | And John and Ed were dead set on making animated films, | 而且约翰跟爱德执意要拍动画电影 |
| [24:32] | and their dream was to make an animated feature. | 他们的梦想是拍一部动画长片 |
| [24:35] | And I said, “Great, but, you know, to do this on a grand scale, | 我说”很好 但是要知道拍这么大规模的电影 |
| [24:39] | it’s gonna take at least, you know, $30, | 至少需要三百万 |
| [24:40] | $40 million investment, | 四百万美元的资金” |
| [24:43] | “which we don’t have.” | “我们没那么多钱” |
| [24:46] | To keep the team together, | 为了留住整个团队 |
| [24:47] | Ed and Alvy gained Lucas’ support | 爱德和艾尔维取得卢卡斯的支持 |
| [24:50] | to spin off the division and call it “Pixar.” | 自立门户 取名为皮克斯 |
| [24:53] | Over the next year they struggled to find | 接下来一整年 他们都在努力寻找 |
| [24:56] | the one investor who could foresee their potential. | 能够看出他们潜力的伯乐 |
| [25:01] | An unexpected visitor to Lucasfilm was Steve Jobs. | 史蒂夫·乔布斯是到卢卡斯营业拜访的意外访客 |
| [25:05] | Steve was 21 when he co-founded Apple Computer, | 21岁时史蒂夫共同创办的苹果电脑 |
| [25:08] | revolutionizing the concept of | 以革命性的概念研发出 |
| [25:10] | user-friendly personal computing with the Apple ll and the Macintosh. | 方便使用的个人电脑苹果第二代和Macintosh |
| [25:14] | By the age of 30, he had become a multimillionaire, | 30岁时他已经成为亿万富翁 |
| [25:17] | selling his innovative computers all over the world. | 他那创新的电脑已经行销全球各地 |
| [25:20] | I was still at Apple at the time. | 当时我还在苹果电脑 |
| [25:22] | I was turned onto it by a guy named Alan Kay, who I worked with. | 我有一个同事叫艾伦·凯 让我注意到它 |
| [25:24] | And, so Alan and I hopped in a car and rode up to Lucasfilm. | 于是艾伦跟我跳上一部车 开到卢卡斯影业 |
| [25:28] | So on the limousine ride up there, | 在去的车上 我向史蒂夫说明 |
| [25:30] | I explained to Steve what these guys were, | 他们都是些什么人 |
| [25:31] | 艾伦·凯 计算机科学家 | |
| [25:32] | what their history was, what the potential was. | 他们的经历有什么潜力 |
| [25:35] | Then a very good thing happened. | 接着一件非常好的事发生了 |
| [25:36] | That was the first time I met Ed, | 那是我第一次见到爱德 |
| [25:38] | and he shared with me his dream to make the world’s first computer-animated film. | 他跟我分享拍摄世上第一部电脑动画电影的梦想 |
| [25:44] | And l, in the end, ended up buying into that dream, both spiritually and financially. | 到最后我在精神上跟财务上都买下了那个梦 |
| [25:51] | Steve Jobs took a chance and invested $1 0 million to launch Pixar. | 史蒂夫·乔布斯把握机会 投资一千万美元成立皮克斯 |
| [25:56] | The stuff that Ed and his team were doing was at the very high end, | 爱德跟他的团队所做的事非常先进 |
| [26:00] | and I could see that it was way beyond what anyone else was doing. | 我看得出来那已经远远超越别人正在做的事了 |
| [26:04] | We had the fortune to have Steve Jobs, | 我们很幸运 能遇到史蒂夫·乔布斯 |
| [26:07] | who believes in passion and vision. | 他相信热情和远见 |
| [26:10] | He was responding to this passion. | 他是在回应这股热情 |
| [26:11] | It was really exciting when Steve was the one that bought our group. | 史蒂夫是买下我们团队的人 这实在太令人兴奋了 |
| [26:18] | I remember Ed came to me, and he says, | 我记得爱德来找我 |
| [26:21] | “Let’s do a little animated film, something that says who we are.” | 他说我们来做一部动画短片 让人家知道我们是谁 |
| [26:27] | I wanted something simple and geometric, | 我希望画个线条简单的造型 |
| [26:29] | and I was sitting there at the desk kind of thinking. | 所以就坐在桌子前面想 |
| [26:32] | And I just kept staring at this lamp, | 我一边想一边盯着一盏灯 |
| [26:33] | and it was sort of like a classic Luxo lamp. | 那只是一盏 普通的台灯 |
| [26:38] | I just started moving it around like it was alive. | 我当他是活的东西 开始移动它 |
| [26:41] | I love bringing inanimate objects to life, | 我喜欢让没有生命的东西动起来 |
| [26:44] | in maintaining the integrity of the object, | 这样除了能看到物体的真下形状 |
| [26:46] | and pull personality and movement and physics out of that. | 还能借此掌握它的个性 移动方式跟移动原理 |
| [27:00] | In 1987, Luxo Jr . | 1987年 《顽皮跳跳灯》 |
| [27:03] | became the first three-dimensional computer-animated film nominated for an Academy Award. | 成为获得奥斯卡提名的第一部立体电脑动画影片 |
| [27:08] | Luxo is the one that changed everything. | 《顽皮跳跳灯》改变了一切 |
| [27:11] | It was a pure little story. | 它是个单纯的小故事 |
| [27:14] | And once we hit it with that, then it became a new goal for everybody. | 但等我们红了之后 电脑动画成了所有人的新目标 |
| [27:34] | It was the combination of the new medium | 它是新媒体的结合 |
| [27:35] | and John really bringing a character to life | 而约翰真的让角色栩栩如生 |
| [27:38] | that made people say, “Oh my God.” | 他让人们说”噢 我的天呐” |
| [27:40] | You know, and the smart ones say, “Look at this potential here.” | 那些聪明人则说”你看它的潜力多大啊” |
| [27:44] | A hopping Luxo lamp | 一盏蹦蹦跳跳的台灯 |
| [27:46] | would become a symbol of Pixar’s optimism and determination. | 成为皮克斯动画工作室乐观与决心的象征 |
| [27:51] | The image I remember most | 我记得最清楚的画面是 |
| [27:53] | is John Lasseter sitting there in that graphics lab | 约翰·拉塞特坐在绘画实验室里 |
| [27:56] | with deadlines approaching, struggling with the machine. | 完工日期逐渐逼近 他还在跟机器搏斗 |
| [28:00] | Just one man, one machine, trying to produce this animation. | 就是一个人一部机器 想要做出这部动画来 |
| [28:06] | Early in Pixar, when we were sitting in a hallway, | 早期 在皮克斯我们得坐在一条走廊上 |
| [28:09] | sharing one computer, | 共用一台电脑 |
| [28:11] | me and Eben and Bill and Ed, | 我 艾宾 比尔和爱德 |
| [28:13] | we’d sit there and just kind of be sharing time, | 我们得一起分享用电脑的时间 |
| [28:16] | and I would always take the midnight shift. | 我总是选择上夜班 |
| [28:19] | Got most of my animation done on | 我大部分的短篇动画都是 |
| [28:20] | all the short films from about 10:30 at night until 4:00 or 5:00 in the morning. | 在晚上十点半到清晨四五点之间完成的 |
| [28:26] | This evening I am animating a scene from the dream sequence. | 今天晚上我正在画做梦那场戏里的一个画面 |
| [28:30] | This is a rough level of detail. | 要精细地把它画出来不容易 |
| [28:33] | How come your car has the best parking spot? | 为什么你的车总是停在最好的位置 |
| [28:35] | ‘Cause it hasn’t moved in about three days. | 因为它已经三天没动了 |
| [28:38] | I’ve been sleeping here. | 我都睡在这里 |
| [28:41] | He’d leave me a note on my desk. | 他会在我桌上留张字条 |
| [28:42] | “D.W., wake me up when you come in,” | “进办公室后叫我起来” |
| [28:44] | and I would go to his common. | 我就会到他的办公室 |
| [28:47] | Of course, the door would be closed. | 门当然是关着的 |
| [28:48] | I’d have to bang on the door, and John’d be asleep. | 我得用力敲门 没准约翰正在睡觉 |
| [28:50] | He used to bring in a mattress or a futon or something and sleep under his desk. | 他会带一张席子或垫子来铺在桌子下睡觉 |
| [28:53] | And then he would get up and start animating again. | 然后他会起来继续画 |
| [28:56] | And he did that for weeks. | 就这样过了好几个星期 |
| [29:01] | Their next short, Red’s Dream, | 他们的下一部短片《单轮车的梦想》 |
| [29:03] | was the story of a lonely unicycle longing to perform in the circus. | 是一部寂寞单轮车的故事 他渴望能够在马戏团里表演 |
| [29:10] | We could show him what was easy for us to do and what was hard for us to do, | 我们可以告诉他哪些我们做起来很容易或很难 |
| [29:14] | and he’d also push us. | 他也会逼我们 |
| [29:15] | We’d say, “Well, you know, John, it’s kind of hard for us to do a human.” | 我们会说”约翰 让我们画一个人还蛮难的” |
| [29:19] | Then first thing you’d know, he’d be thinking about human stuff he’d wanna do | 话才刚说完 他就开始想他想做哪些人类的事 |
| [29:22] | and he’d encourage us to try to do it. | 而且还会鼓励我们去做 |
| [29:26] | Tin Toy, about a wind-up toy tormented by a baby, | 《锡铁小兵》的主角是被宝宝整得很惨的发条玩具 |
| [29:30] | brought children’s toys to life through the computer. | 这部影片利用电脑让儿童栩栩如生 |
| [29:34] | And in 1989, Bill Reeves and John Lasseter | 1989年 比尔·里弗斯和约翰·拉塞特 |
| [29:38] | took home their first Oscars for Best Animated Short Subject, | 得到他们的第一座奥斯卡最佳动画短片奖 |
| [29:41] | and the first ever awarded to a computer-animated film. | 它也是第一部得奖的电脑动画影片 |
| [29:45] | With each subsequent short film, John got more ambitious | 每完成一部短片 约翰的野心就越大 |
| [29:49] | and the team got more experience and the software got better. | 团队的经验就越丰富 软件也越好 |
| [29:55] | In 1990, Pixar applied their knowledge of animated shorts to make commercials. | 1990年 皮克斯运用 他们在动画短片上的知识来拍广告 |
| [30:00] | The new venture soon required bringing in new animators. | 这种新尝试让他们得以引进新的动画师 |
| [30:03] | John hired two recent CalArts graduates. | 约翰请了两名刚从加州艺术大学毕业的学生 |
| [30:06] | It was literally the day after I graduated I showed up. | 我可以说是毕业第二天就去皮克斯了 |
| [30:10] | 皮特·道格特 皮克斯导演 | |
| [30:10] | John sat down and showed me the way the animation software worked. | 约翰坐下来教我怎么使用动画软件 |
| [30:13] | It was pretty slow. | 电脑的速度蛮慢的 |
| [30:15] | There was a lot of kind of noodling and futzing around, | 经常要临机应变 又常常做白工 |
| [30:17] | but I loved that stuff. | 但是我喜欢那种事情 |
| [30:19] | I didn’t care what it was. I said, “Commercials? Fine. | 我不在乎做什么 我说”广告?好 我做” |
| [30:20] | 安德鲁·斯坦顿 皮克斯导演 | |
| [30:21] | “I’ll do, you know, soap bars, soda cans, whatever. I don’t care.” | “肥皂 灌装汽水 都可以 我不在乎” |
| [30:31] | For as simple as it was, | 内容简单 |
| [30:32] | it was probably the hardest learning experience I ever had, | 却是我这辈子最艰苦的学习经验 |
| [30:34] | because it was archaic. | 因为它艰深难懂 |
| [30:36] | I knew nothing about the computer. | 我对电脑一窍不通 |
| [30:37] | I had never touched one, never word-processed, | 我从来没用过文字处理软件 |
| [30:39] | never even really looked at one before I came up there. | 其实在我进皮克斯之前 连电脑都没见过 |
| [30:43] | So I’m a testament that anybody can learn the computer. | 所以我是活生生的例子 证明任何人都能学电脑 |
| [30:49] | At the same time, Pixar began a collaboration with the new leadership at the Walt Disney Studios | 在此同时 皮克斯开始和迪士尼工作室新领导人合作 |
| [30:54] | headed by Michael Eisner, Frank Wells, | 他们是麦克·艾斯纳 法兰克·威尔斯 |
| [30:56] | Jeffrey Katzenberg and Roy Disney. | 杰弗瑞·卡森博格 和罗伊·迪士尼 |
| [30:59] | In a renewed effert to bridge hand-drawn animation with computers, | 为了再度将手绘动画和电脑结合 |
| [31:02] | Pixar invented CAPS, a digital ink-and-paint system | 皮克斯发明了电脑辅助作业系统 |
| [31:07] | which brought new technical advances to 2-D animation. | 这种数码色彩系统提升了2D动画的技术层次 |
| [31:11] | The techniques gained critical notice in Disney’s Beauty and the Beast. | 这种技术在迪士尼的作品《美女与野兽》中备受瞩目 |
| [31:15] | Roy Disney was a great champion of this. | 罗伊·迪士尼是这套系统的强力支持者 |
| [31:18] | He spent a lot of money building the CAPS system, | 他花很多钱建立电脑辅助系统 |
| [31:20] | and it was just the basis of what was to come in terms of the 3-D animation process. | 这在立体动画的引进过程中只是基本配备 |
| [31:22] | 彼得·施耐德 沃尔特·迪士尼公司 前任董事长 | |
| [31:24] | It was the engine that drove everything else forward. | 但却是整个产业的引擎 |
| [31:30] | Pixar’s software, Renderman, was also getting industry acclaim | 皮克斯的软件Renderman在电影节备受好评 |
| [31:34] | for the creation of photo-realistic special effects | 因为它所创造的逼真特效 |
| [31:37] | that allowed Hollywood filmmakers to tell stories | 令好莱坞电影人能以其他方法 |
| [31:39] | that could not be told any other way. | 做不到的方式来呈现剧情 |
| [31:43] | Renderman had become the new standard in special effects, | Renderman已经成为做特效的新标准配备 |
| [31:47] | and in 2000, the technical team garnered the first Oscar ever awarded | 2000年奥斯卡首次颁奖给 |
| [31:50] | for computer-animated software. | 电脑动画软件的技术团队 |
| [31:55] | But the research and development of all their technology | 但是研究开发新技术的开销 |
| [31:58] | was costing more money than the company was bringing in. | 远比公司的收入要多 |
| [32:02] | Steve Jobs had been losing over a million dollars a year for five years. | 史蒂夫·乔布斯连续五年 每年都得赔上100多万美元 |
| [32:07] | It was all great stuff to do, but none of it was a home run. | 研究开发是件很棒的事 但是总是不能获得巨大的成功 |
| [32:11] | None of it really. . . It was a struggle. Every step of the way, it was a struggle. | 在这个过程中我们每一步都在苟延残喘 |
| [32:15] | We were trying to pay the bills and just buy time. | 我们没法付出账款 来争取时间 |
| [32:19] | And that strategy really turned out not to work. | 但是后来发现 那个策略行不通 |
| [32:23] | Steve was a very forgiving investor at that time | 那个时候的史蒂夫是一个非常宽大的投资者 |
| [32:24] | 汤姆·波特 皮克斯 技术导演 | |
| [32:29] | and had a much longer term view than | 他对我们这个年轻的公司眼光 |
| [32:32] | your average venture capitalist would’ve had about our young company. | 比一般的创投公司要长远得多 |
| [32:38] | With the survival of Pixar at stake, | 由于皮克斯的未来岌岌可危 |
| [32:40] | John pitched the Disney Company | 约翰向迪士尼公司提案 |
| [32:42] | a half-hour Christmas TV special based on their short film Tin Toy. | 想根据他们的短片《锡铁小兵》 做一个半小时的圣诞节电视特别节目 |
| [32:47] | All the while, Disney executives had been trying to lure John | 迪士尼的主管一直想引诱约翰 |
| [32:50] | back to the studio to direct a feature. | 回到迪士尼执导一部剧情片 |
| [32:54] | John is being asked this for a third time, to come down and be a director at Disney. | 这已经是迪士尼第三次邀请约翰回去当导演了 |
| [32:59] | Or he can stay up in Northern California with this company that’s bordering on collapse, | 当然他也可以跟这个濒临瓦解的公司留在北加州 |
| [33:04] | because they’re losing money. | 陪着他们亏钱 |
| [33:05] | He stays up here with this company bordering on collapse, right? | 结果他留在这个濒临瓦解的公司里 对吧? |
| [33:13] | John came up with the idea of doing this story | 约翰想到一个点子 |
| [33:16] | from a toy’s point of view, | 从玩具的角度来讲一个 |
| [33:18] | done in this 3-D plastic world, | 发生在3D塑料玩具世界里的故事 |
| [33:20] | and the idea was sensational. | 这个点子很吸引人 |
| [33:24] | And they’d gone from commercials to a short film being six minutes. | 他们已经从广告片延长到6分钟的短片了 |
| [33:27] | They felt they could expand the system to a 30-minute movie. | 当然可以将这种短片延伸成30分钟的电影 |
| [33:31] | And we said, “Oh, forget about that. Make it a full-length feature.” | 可是我们说”算了 就拍成长片吧” |
| [33:35] | From John’s initial pitch, | 由约翰最初的提案 |
| [33:36] | 里士满一家公司 和迪士尼签约 | |
| [33:36] | Disney offered the Pixar team the chance to | 迪士尼提供皮克斯这个机会 |
| [33:39] | finally fulfill their dream | 让他们终于能实现梦想 |
| [33:41] | of creating the world’s first computer-animated feature film. | 制作世上第一部电脑动画电影长片 |
| [33:47] | I remember Bonnie Arnold, the producer, | 我记得制作人邦尼·亚诺 |
| [33:49] | and Ralph Guggenheim, the producer, | 跟制作人拉夫·哈金汉 |
| [33:51] | came around and they said… | 跑来跟我说 |
| [33:53] | We’re making a movie. | 我们要拍电影了 |
| [33:54] | -Really? -Green light. | -真的吗? -开绿灯了 |
| [33:56] | We got green light? | 他们答应了? |
| [33:57] | It happened, and it was like, | 它就这么发生了 就像 |
| [33:59] | “Oh, my God, we’re actually gonna make this movie.” | 哦 我的天啊 我们真的要拍这部电影了 |
| [34:01] | And I was so excited. | 我实在很兴奋 |
| [34:03] | 乔·兰夫特 皮克斯 前任故事指导 | |
| [34:03] | There was so much positive enthusiasm. It was great. | 大家都非常乐观热诚 真的很棒 |
| [34:10] | It was an attempt to take the spirit of John Lasseter | 我们是打算借由约翰·拉塞特的热诚 |
| [34:12] | 麦克·艾斯纳 沃尔特·迪士尼公司 前任首席执行官 | |
| [34:13] | and see if we could make a full-length motion picture with it. | 看看能不能把它变成一部完整长度的电影 |
| [34:18] | It was fantastic. | 实在太好了 |
| [34:20] | There was no better partner to do it with than Disney. | 再也没有比迪士尼再适合的搭档了 |
| [34:23] | There was a lot we could learn from them, | 我们可以从他们那里学到很多 |
| [34:25] | vast amounts we could learn from them. | 学到非常多的事情 |
| [34:26] | So it was the best thing that ever happened to the studio. | 所以那是工作室创立以来最好的事情 |
| [34:29] | None of us had done a movie ourselves before, | 我们没有一个人曾经拍过电影 |
| [34:32] | and a large portion of us had never worked on a movie at all. | 大部份的人没有跟拍电影的经验 |
| [34:34] | Green light. | 绿灯 |
| [34:35] | Ignorance was bliss. | 无知是一种福气 |
| [34:36] | We did not know what we didn’t know. | 我们不知道我们欠缺的有多少 |
| [34:39] | It’s like the Mickey Rooney/Judy Garland things, | 就像米奇·鲁尼跟朱迪·加兰说的 |
| [34:42] | “Hey, my uncle’s got a barn! Let’s put on a show!” | “喂 我叔叔有一个谷仓！我们来表演吧！” |
| [34:45] | -Unpack. Unpack. -You mean I can stay? | -拆行李了 拆行李了 -我可以留下来了? |
| [34:47] | We were onto something big | 只要我们团结一致坚持到底 |
| [34:49] | if we could just hold it together and make it happen. | 一定能做出一部很成功的电影 |
| [34:57] | We did not want to do a musical. | 我们不想做一部歌舞剧 |
| [34:59] | We did not want to do a fairy tale. | 我们不想做一出童话故事 |
| [35:01] | We did not want to do what Disney was, | 我们不想做迪士尼所做的事情 |
| [35:03] | from Little Mermaid and Beauty and the Beast | 从《小美人鱼》到《美女与野兽》 |
| [35:06] | and all those films. . . | 这些都不适合 |
| [35:07] | They had their thing going and we wanted to be different. | 它们有点它们的特点 而我们要拍不一样的电影 |
| [35:12] | John set his sights on one particular actor for the voice of Woody. | 约翰已经决定 请一位特别的演员来为胡迪配音 |
| [35:17] | They said, “Look, we just wanna show you this thing, | 他们说”来 我们想让你看这个东西” |
| [35:19] | 汤姆·汉克斯 演员,胡迪的配音者 | |
| [35:20] | “’cause it’s too hard to explain what it is.” | “因为太难解释它是什么了” |
| [35:22] | 汤姆·汉克斯音轨 特纳和霍奇 | |
| [35:33] | When I saw this loop, it was startling, actually. | 当我看到影片 真的非常震惊 |
| [35:36] | It was kind of, like, hypnotic. | 它简直有催眠作用 |
| [35:38] | “Let’s see it again. Can I see that again?” | “让我们再看一遍吧 能再看一遍吗?” |
| [35:40] | I think we must have watched it three or four times. | 我们一定是看了三四遍 |
| [35:42] | It didn’t look like animation. It looked like Plasticine come to life. | 它看起来不像动画 看来像栩栩如生的黏土玩具 |
| [35:45] | I couldn’t explain it even to friends what it was like. | 我甚至没有办法跟朋友解释它到底是什么 |
| [35:47] | I just said, “Well, it’s gonna be this whole new thing. | 我只能说”对 未来都会是这种全新的东西” |
| [35:49] | “They’ve just invented something that is a brand new way of doing this.” | “他们已经为它烙印上了一种新的方式” |
| [36:17] | There was this desire at Disney to make Toy Story edgy. | 迪士尼很希望把《玩具总动员》拍成一部辛辣的电影 |
| [36:22] | Make it edgy. Make it, like, something for adults. | 辛辣一点 让它适合成人观赏 |
| [36:26] | Jeffrey Katzenberg, who at the time was chairman of the Disney Studios | 当时迪士尼工作室的董事长是杰弗瑞·卡森博格 |
| [36:29] | and had great interest in animation | 他对动画有兴趣 |
| [36:32] | would always in a story meeting be pushing for what he called “edge.” | 只要有故事会议他一定到场 并鼓吹他所谓的辛辣 |
| [36:37] | Which really was code for snappy, adult, | 其实真正的意思是俏皮 成人 |
| [36:42] | the edge of inappropriate, | 几乎超越尺度 |
| [36:44] | and not to feel too young. | 感觉不要太过幼齿 |
| [36:46] | We were working our butts off and jumping through every hoop, | 我们所有人都非常辛苦 想尽办法取悦他们 |
| [36:51] | addressing every note that was given to us. . . | 每道指令都设法达成 |
| [36:54] | And that was the first year. | 那才只是第一年而已 |
| [36:56] | By December, 1993, | 到了1993年12月 |
| [36:58] | John and his crew flew to Burbank | 约翰和他的手下飞到伯班克 |
| [37:00] | to present their completed storyboards to Disney. | 向迪士尼报告他们完整的故事内容 |
| [37:03] | Their approval would finally launch Pixar into production. | 只要他们许可 皮克斯便可以正式动工 |
| [37:07] | But what was to come was a day they would never forget. | 但是他们却度过了一个永生难忘的一天 |
| [37:15] | Nothing of it was working. | 什么都行不通 |
| [37:16] | It wasn’t funny, it wasn’t emotional, it wasn’t moving. | 它不好笑 没有动人情节 不能感动人 |
| [37:19] | Characters didn’t quite work. | 角色不吸引人 |
| [37:22] | Peter Schneider sent me this video, which was, like, two cassettes. | 彼得·施耐德送录影带来给我 一共有两卷 |
| [37:26] | It was so long. | 影片好长 |
| [37:27] | It was like two hours, and it went on and on and on and on and on and on | 大概有两个小时 它就那样一直演一直演一直演一直演 |
| [37:32] | and I was fast-forwarding through it | 我一边快进一边想 |
| [37:34] | and thinking, “Oh, my God. This’ll never end.” | “我的天呐 怎么没完没了” |
| [37:36] | Which led to this horrible, horrible day | 随之而来的是这个可怕的日子 |
| [37:39] | when things came to a crashing halt. | 所有进度就在这个时候叫停 |
| [37:43] | That was our Black Friday. Black Monday, Black Tuesday. . . | 那是我们的黑色星期五 黑色星期一黑色星期二 |
| [37:46] | I forget what day of the week it was, but it was sure black. | 我忘了那天星期几 不过绝对是黑色的 |
| [37:49] | 原始的玩具总动员 首次迪士尼演示 | |
| [37:54] | It resulted in the Woody character | 这个版本的胡迪 |
| [37:57] | being one of the most repellent things you’ve ever seen on screen. | 成为电影史上最令人反感的角色 |
| [38:00] | I mean, you couldn’t watch it. | 你根本就看不下去 |
| [38:01] | It was smart-alecky. It was like a brand of insult humor. | 他只会耍嘴皮子 他把骂人当幽默 |
| [38:06] | It was kind of, like, negative. | 他给人感觉很负面 |
| [38:14] | Jeffrey said, “Well, why is this so terrible?” | 杰弗瑞问”这片子为什么这么难看?” |
| [38:16] | I said, “Well, because it’s not their movie anymore. | 我回答说”因为这已经不是他们的电影了” |
| [38:19] | “It’s completely not the movie that John set out to make.” | “这完全不是约翰当初决心要拍的电影” |
| [38:22] | Disney forced us to shut production down. | 迪士尼强迫我们关闭制作部门 |
| [38:24] | And they wanted us to lay people off, and we refused. | 他们要我们裁员 但是我们拒绝了 |
| [38:30] | We just said, “All right, screw it. What do we want to do? | 我们都说”好吧 管他的 我们想要做什么?” |
| [38:33] | “What would be the funniest thing?” | “什么事情最好笑?” |
| [38:35] | We were also very brutally honest | 我们对彼此毫不保留 |
| [38:36] | with each other about what we thought. | 心里想什么就会诚实地说出来 |
| [38:39] | We worked day and night. | 我们日以继夜地工作 |
| [38:40] | And we just really went 100% with our gut. | 我们真的是百分之百地全心投入 |
| [38:42] | We knew it was sort of our last chance. We knew time was not on our side. | 知道那是我们最后的机会 剩下的时间已经不多了 |
| [38:45] | It was so refreshing, ’cause we were making the movie we wanted to make. | 它让人精神愉快 因为我们正在拍自己想拍的电影 |
| [38:50] | We’d just sit on our knees, right on the floor | 我们就直接坐在地板上 |
| [38:52] | and draw with Sharpies on pads and pin it all up. | 用笔在便签上画画 再用大头针钉起来 |
| [38:55] | And then, like, “Oh, this is great!” | 然后说”哦 这个很不错” |
| [38:56] | We’d get all excited. “This is great.” | 我们都非常兴奋”这个很棒” |
| [38:58] | And re-boarded the whole thing. | 我们把整个故事重新改写 |
| [38:59] | We did it much faster, much rougher than anybody ever thought we could. | 只抓大方向 改得速度比以前还要快 |
| [39:02] | And we turned the reels around in two weeks or three weeks, | 我们两个星期或三个星期后就交出样带 |
| [39:05] | something like that, unheard of amount of time. | 差不多是这样 反正时间很短就对了 |
| [39:09] | And we showed it to Disney, | 我们放给迪士尼看 |
| [39:10] | and they were all ready to completely shut production down and call it a day. | 他们已经准备裁掉整个制作部门 打算到此为止了 |
| [39:14] | And you know what? It was good. | 可是你知道吗?它很不错 |
| [39:16] | It was not great, but it was good. | 不是很棒 但是很不错 |
| [39:18] | It showed the potential of what Toy Stery would be. | 它展现出《玩具总动员》具备的潜力 |
| [39:20] | And they said, “Okay.” | 他们说”好吧” |
| [39:21] | Then we started production back up and went from there. | 于是我们从这里开始 继续做下去 |
| [39:33] | The first scene animated was the army men sequence. | 他们画的第一个场景 是士兵的那场戏 |
| [39:37] | It was an early glimpse of what was to come. | 从这里就可以瞥见它后续的发展 |
| [40:00] | We were so flying by the seat of our pants. It was nuts. | 我们全凭感觉在做事 真的很疯狂 |
| [40:03] | We would get all the stuff together | 我们会把想到的点子收集起来 |
| [40:04] | and we would send it off to animation and let them animate it. | 送到动画部门去让他们画 |
| [40:07] | 李·昂魁里奇 玩具总动员 编辑 | |
| [40:07] | We would then get it back into editorial | 等拿回来剪接以后 |
| [40:09] | and find that nothing was cutting together at all. | 我们才发现完全剪不到一起 |
| [40:10] | It was so absolutely Stone Age, | 那种做法真的很落伍 |
| [40:12] | yet at the time we were, like, on the top of our mountain. | 但是那时候我们真有俯视一切的感觉 |
| [40:15] | We thought we were being so cool | 我们觉得自己很了不起 |
| [40:17] | and no one was doing anything like what we were doing. | 我们做的是和别人不一样的事 |
| [40:20] | I think the biggest challenge in Toy Story | 我想《玩具总动员》最大的挑战 |
| [40:20] | was just dealing with the length of the film. | 就是要处理那么长的片长 |
| [40:24] | Full of characters, full of sets, all sorts of stuff. | 有那么多人物 那么多场景和各式各样的问题 |
| [40:27] | And the story drove everything. | 故事情节是一切的动力 |
| [40:29] | Every frame of that story was in my head. | 片中的每一个画面都在我的脑海里 |
| [40:32] | Working with the art department, working with modeling, | 和艺术部门配合 和建模部门配合 |
| [40:35] | working with layout, working with the animators. | 和平面设计配合 和动画师配合 |
| [40:38] | I would talk about the story | 我会谈故事的情节 |
| [40:39] | and tell them how it fit in the framework of that. | 并告诉他们如何把它们融入架构中 |
| [40:43] | And there’s something about having the artists and the technical crew working together | 让画家和技术人员一起合作 是一件很特别的事 |
| [40:45] | that is exciting. | 很让人兴奋 |
| [40:47] | Even though we may do some things | 虽然我们做的某些事情 |
| [40:48] | that don’t always necessarily make the best sense, | 不一定能得到最好的画面 |
| [40:50] | the mix is exciting. | 但是合作真的很棒 |
| [41:02] | Woody was a pendulum swing | 胡迪像个钟摆 |
| [41:04] | from Woody being comfortable with his position | 有时对自己的地位很有自信 |
| [41:06] | to Woody being threatened by the arrival of Buzz Lightyear. | 有时又因为巴斯光年的到来而觉得受到威胁 |
| [41:15] | Lasseter called me and said, | 拉塞特找到我 他说 |
| [41:16] | “Would you look at these sketches of this character? | “你能看看这个角色的彩图吗” |
| [41:18] | “We think you’re the perfect guy for it.” | “我们觉得你为他配音最完美” |
| [41:20] | And the only thing that sold me was his enthusiasm. | 唯一打动我的是他的热诚 |
| [41:23] | And I said, “What a neat idea.” | 我说”这个点子真棒” |
| [41:25] | Had no idea visually what this would look like. | 其实我完全想象不到 他会是什么模样 |
| [41:27] | He let me stretch it a little bit | 他让我有一点自由发挥的空间 |
| [41:29] | and really make it this really kind of a closed-head-injury type of guy. | 结果创造出这个真的有些脑残的家伙 |
| [41:45] | He’s full of himself, but in a great way. | 他很自以为是 却讨人喜欢 |
| [41:47] | I don’t think of Buzz as really obnoxious. | 我不认为巴斯是个自大狂 |
| [41:49] | Obviously, ’cause I think he’s the more popular of the toy. | 因为我认为他是最受欢迎的玩具 |
| [42:17] | I think the hard part for me and probably for a lot of others was that | 我认为对我和其他大部分的人来说 |
| [42:21] | it was really hard to know, from those story sketches to the finished product | 最困难的可能是只看那些故事草图 |
| [42:26] | what it was gonna look like. | 就要想象完成后的成品会是什么模样 |
| [42:28] | Which is really scary stuff. | 这一点真的叫人很害怕 |
| [42:30] | I remember, even halfway through the movie, | 我记得即使电影已经拍到一半了 |
| [42:33] | and we were seeing most of the first half, say, | 我们也都看过故事的前半段 |
| [42:36] | in fairly completed form in color, | 它的套色已经很完整了 |
| [42:39] | I was still thinking, “I don’t get how this is gonna work at the ending,” | 我还是会想我不知道这个故事最后要怎么收尾 |
| [42:43] | because there was this huge chase through the streets | 因为片中有很多街头追逐的戏 |
| [42:45] | and the truck and all of that kind of thing. | 有卡车 还有各种场景 |
| [42:47] | It was like they did that all in one day. | 这些却像是一天之内就完成了一样 |
| [42:58] | And suddenly, it was all in there, | 突然间 一切都明朗了 |
| [42:59] | and I remember saying to my wife, “I get it.” | 我记得那时我对我太太说 “我懂了” |
| [43:09] | Some of the machines had to run 24/7, three months straight. | 有些机器得24小时连续不停地运转整整三个月 |
| [43:13] | Any hiccup in there would’ve been disastrous, you know? | 任何小差错会是一场灾难 |
| [43:18] | And it was Band-Aids. That’s the funny part. | 所以只能快修 那是最好玩的部分 |
| [43:29] | We were blown away with it, | 我们都被它迷倒了 |
| [43:30] | and we really felt strongly that the movie was gonna be a success. | 而且我们都深信这部电影一定会成功 |
| [43:34] | But even we didn’t have a clue | 只是连我们都没有预料到 |
| [43:36] | how much of a success it was gonna be. | 它居然会这么成功 |
| [43:41] | Toy Story opened nationwide on Thanksgiving weekend in 1995, | 1995年感恩节的周末《玩具总动员》在全美国上映 |
| [43:45] | and from a shoestring budget, | 这部预算有限的电影 |
| [43:47] | went on to earn more than $350 million worldwide, | 在全世界的票房收入超过3亿5千万美元 |
| [43:52] | and paved the path to an entirely new computer animation industry. | 并且让全新的电脑动画工业迈上康庄大道 |
| [43:58] | Kids loved it, critics loved it, | 孩子们爱他 影评人爱他 |
| [44:00] | and people in the animation field were knocked out. | 而且动画界的人则是佩服得五体投地 |
| [44:05] | I remember the reviews starting to come in and going, “Wow.” | 我记得评论开始滚滚而来 我心里想 哇 |
| [44:09] | First of all, the fact that this paper has even heard of this movie | 这些报纸听说过这部电影 而且还提到它 |
| [44:11] | and they care about it is stunning, and then they gave it a good review! | 这太叫人惊讶了 而且还给它好评 |
| [44:15] | They were just glowing, and wow. | 他们简直是赞不绝口 真是太棒了 |
| [44:17] | The most amazing thing to me was that it was really, really good.It was really entertaining. | 最不可思议的是 它真的很出色 很有娱乐性 |
| [44:20] | Great story, great character. | 故事好 角色棒 |
| [44:23] | That was the part where I was saying, “Whoa, they really pulled this off.” | 让我不得不说 “哇 他们真的做到了” |
| [44:27] | People began to realize that this was a big deal, | 人们开始明白这是个重大的改变 |
| [44:30] | that we, in fact, had hit our stride, | 我们终于扬眉吐气了 |
| [44:33] | and this was what we were destined to do. | 这是我们注定要做的事情 |
| [44:42] | The Academy of Motion Pictures honored John with a special achievement Oscar | 奥斯卡颁发特别成就奖给约翰 |
| [44:46] | for creating the first computer-animated feature film. | 以表彰他创作出第一部电脑动画长片 |
| [44:56] | In spite ofToy Story’s success, | 虽然《玩具总动员》很成功 |
| [44:58] | the original contract between Pixar and Disney | 但皮克斯与迪士尼之间的原始合约 |
| [45:01] | left the majority of the profits and merchandising with Disney, | 使大部分的利润和商品都归迪士尼所有 |
| [45:04] | a long-term disaster for Pixar. | 对皮克斯而言 这是一个长期的灾难 |
| [45:07] | Financially, if one film did not do well, | 从财务上来看 要是一部片不赚钱 |
| [45:10] | we would be wiped off the face of the earth. | 我们就会从地球上消失 |
| [45:12] | We realized then that we had to become a studio, | 所以我们发现 我们得成为一个工作室 |
| [45:15] | rather than just a production company. | 而不只是一个制作公司 |
| [45:17] | And in order to do that, we were going to need capital. | 为了达到目的 我们需要资金 |
| [45:20] | So that’s when we decided we had to go public. | 就是那个时候 我们决定公开上市 |
| [45:25] | It was a combination of things that really hadn’t been accomplished before. | 这家公司结合的真的是前所示见的 |
| [45:27] | 迈克·麦卡弗里 罗伯逊·斯蒂芬斯技术股投资银行 前任首席执行官 | |
| [45:29] | Creativity, technology, business. | 才能 创造力 科技 生意 |
| [45:31] | And it was a small company with those capabilities | 而且他是一家具有能力 |
| [45:34] | going up against giants. | 可以挺身对抗巨人的小公司 |
| [45:38] | One week afterToy Story’s release, | 《玩具总动员》上映一周后 |
| [45:40] | Pixar became the highest lPO of the year. | 皮克斯成为该看首次上市股价最高的公司 |
| [45:43] | 皮克斯初次登台 市场灿烂 | |
| [45:44] | From a $10 million investment, | 当初投资1000万美元的史蒂夫 |
| [45:47] | Steve raised $1 32 million dollars. | 募集到一亿三千二百万美元 |
| [45:53] | It was a wildly successful lPO, we got the money in the bank. | 那一次公开上市非常成功 我们有钱在银行里 |
| [45:57] | And then, shortly thereafter, Disney came to us and said, “We want to extend the contract.” | 不久之后 迪士尼向我们提出要延长合约 |
| [46:02] | And Steve said, “Okay, we will extend it if we can be fifty-fifty partners.” | 史蒂夫说”好啊 只要我们的利润能均分就可以” |
| [46:07] | And they said, “Okay, we’ll do that.” | 他们说”好啊 就这么办” |
| [46:09] | So he actually nailed this right on the head. | 所以他一下子就把这件事情谈成了 |
| [46:12] | I was in awe. | 我真是佩服他 |
| [46:22] | It was just really surreal that | 这真的很不真实 |
| [46:23] | we had gone from riding around on scooters past empty offices, | 以前我们还得骑着滑板车到空的办公室 |
| [46:26] | looking for extra office supplies, | 去找找看有没有多余的办公设备 |
| [46:29] | to this meteoric success, really. | 现在却突然成功了 |
| [46:31] | We were in a place called Point Richmond, | 我们所在的位置叫里奇蒙 |
| [46:33] | which was two miles away from a few refineries. | 德距离几座炼油厂只有两英里远 |
| [46:36] | A few times a year, we’d have evacuation days | 每年我们都得撤离好几次 |
| [46:38] | ’cause the refineries would spew some | 因为这些炼油厂会散发 |
| [46:40] | wonderful chemical concoction into the air. | 一些美妙的化学混合物到空气中 |
| [46:44] | Pixar’s facilities grew with the company, | 皮克斯的设备随着公司成长 |
| [46:46] | which meant that they were a hodgepodge. | 因此这里也越来越乱 |
| [46:49] | The animation bullpen was this amazing building, | 动画部牛棚是一栋很神奇的建筑 |
| [46:52] | probably not legal at all because of fire code. | 由于不合消防法规 所以可能不应该使用 |
| [46:57] | It looked like a playground. | 它看起来像一个游乐场 |
| [46:59] | It was loose, it was free, it was rough. | 管理松散 气氛自由又很吵闹 |
| [47:02] | It was like 200 people sharing a college dorm room. | 还像200个人共用一间大学宿舍一样 |
| [47:06] | It was a place where you could go and draw on the wall, | 在那里你可以任意在墙上画画 |
| [47:08] | or make a hole in the wall and not feel bad about it. | 或在墙上挖洞 而不用觉得抱歉 |
| [47:13] | There was this infectious enthusiasm in the building. | 这栋建筑里有一股会传染的热诚气氛 |
| [47:16] | It’s like I imagined it must be like, | 在我的想象中 |
| [47:17] | say, for the guys in Monty Python to be sitting around a table, writing material. | 假设有一个人坐在桌子旁边边编写剧本 |
| [47:21] | You’d expect there to be | 那你绝对会看到一堆人挤在桌子旁边 |
| [47:22] | this great creative feeding frenzy at the table, | 七嘴八舌地提供意见 |
| [47:25] | and that’s what we had. | 而我们的情况就是这个样子 |
| [47:29] | It was so innocent and so sweet, and it was really, really a great time. | 大家都很天真 很贴心 真是一段美好的时光 |
| [47:36] | A lot of people said, | 很多人都说 |
| [47:37] | “Congratulations. You guys did what you said you were gonna do, | 恭喜你们 你们做到了你们想做的 |
| [47:40] | and you spent your whole careers doing it.” | 并且这也成为了你们整个的职业 |
| [47:42] | So there was this great feeling of elation, | 所以大家都有飘飘欲仙的感觉 |
| [47:44] | and then when it was done it was like, “Now what?” | 但是一切过去以后 反而觉得”接下来怎么办?” |
| [47:47] | There’s a classic thing in business, | 这在业界是很常有的事 |
| [47:49] | which is the second product syndrome, if you will, | 你可以称之为第二部作品综合症 |
| [47:52] | and that is companies that have a really successful first product, | 就是一家公司他的第一个作品非常成功 |
| [47:57] | but they don’t quite understand why that product was so successful. | 但是他们也不太清楚那部作品为什么那么成功 |
| [48:01] | And their ambitions grow, and they get much more grandiose, | 可是他们的野心变大 他们变得不踏实 |
| [48:04] | and their second product fails. | 于是第二部作品就失败了 |
| [48:06] | Believe it or not, Apple was one of those companies. | 信不信由你 苹果电脑就是那样 |
| [48:08] | The Apple ll, Apple’s first real product in the marketplace, | 苹果电脑第一个真正上市的产品是苹果第二代 |
| [48:10] | was incredibly successful and the Apple lll was a dud. | 它成功得不得了 但是苹果第三代却无人问津 |
| [48:14] | And so I lived through that, | 我是熬过来了 |
| [48:16] | and I’ve seen a lot of companies not make it through that. | 但是我看过很多公司 没能熬过那个阶段 |
| [48:20] | My feeling was if we got through our second film, we’d make it. | 我的感觉是 只要我们能完成第二部电影 我们就成功了 |
| [48:24] | The bigger fear was just, can you find that lightning in a bottle again? | 最大的恐惧是 你能让奇迹再度出现吗? |
| [48:28] | Can you make yourself as in love the second time around, | 第二回合 你还能让自己有恋爱的感觉吗? |
| [48:31] | and you realize you have to actually work now | 你发现这一次你得非常努力 |
| [48:34] | at making yourself as naive | 才能让自己保有 |
| [48:38] | as you were in the first round without any effort. | 在第一回合毫不费力就有的天真心态 |
| [48:41] | There’s nothing worse than any artist | 世界上最糟糕的事就是让画家 |
| [48:43] | facing their second big piece of work, right? | 面对他们的第二件作品 |
| [48:43] | 兰迪·尼尔森 皮克斯大学 某院院长 | |
| [48:46] | ‘Cause it’s the point at which you find out | 因为这个时候你才会发现 |
| [48:48] | whether everything that’s been written about you is just hype, | 别人对你的报道是不是夸大其词 |
| [48:51] | and you’re yesterday’s news, | 你是已经翻过去的历史 |
| [48:53] | or whether you maybe really are the real deal. | 还是真的有一身好本事 |
| [48:55] | One of the things I learned is | 我在这一行学到了 |
| [48:57] | the tricks that worked on the last movie | 在上一部作品中有效的戏法 |
| [48:58] | don’t necessarily work on this movie. | 在下一部作品中不一定有效 |
| [49:00] | You know, you think, “Oh, we made Toy Sfory. | 你心里想 “哦 我们拍了《玩具总动员》” |
| [49:02] | “This is good. Oh, we know how. . . What we’re doing now!” | “它很成功 我们知道该怎么做了” |
| [49:05] | And then you start on a movie like Bug’s Life, | 但是当你开始拍《虫虫危机》 |
| [49:07] | and you’re back in kindergarten again. | 你就是得从头开始学起 |
| [49:18] | Research was literally done out in front of Pixar, in our own backyard. | 研究工作就在皮克斯的后院进行 |
| [49:25] | We ordered this tiny little video camera. | 我们订购了非常小的录影摄影机 |
| [49:27] | We called it the bug-cam, and put it on the end of a stick. | 我们称之为虫虫机 把它装在一根棍子的末端 |
| [49:31] | And we put little wheels from Lego on the bottom of it, | 下面装上用乐高积木组成的轮子 |
| [49:34] | and we were able to wheel it around and literally look at things | 这样我们就能让它到处跑 |
| [49:37] | from a half an inch above the ground. | 从距离地面半英寸的高度来看东西 |
| [49:44] | The one thing we noticed from this bug-cam was how translucent everything was. | 透过虫虫机 我们发现所有东西都变得很透明 |
| [49:50] | It was breathtaking. | 这令人震惊 |
| [49:54] | For their second film with Disney, | 皮克斯为迪士尼拍第二部电影 |
| [49:56] | Pixar set out to prove themselves again, | 为了再度证明自己的能力 |
| [49:58] | with a bigger story, scope and organic characters. | 他们的故事更复杂 规模更大 而且是有生命的角色 |
| [50:08] | A Bug’s Life was the first computer-animated wide-screen movie. | 虫虫危机是第一部宽银幕电脑动画电影 |
| [50:45] | They seem to relish the idea, at Pixar, of doing something difficult | 皮克斯的人似乎特别喜欢想些困难的点子 |
| [50:50] | and then seeing how to solve the problems | 然后再设法用有创意 |
| [50:53] | in a creative and entertaining way. | 又有娱乐性的办法解决问题 |
| [51:08] | There’s always something that we haven’t invented yet. | 世上总有一些我们还没发明的东西 |
| [51:11] | So, as a producer, you are trusting a lot of R&D to come through in the right time. | 身为制作人得仰赖研发部门想出解决的办法 |
| [51:15] | 达拉 K. 安德森 虫虫危机 制片人 | |
| [51:16] | And you’re pushing a lot of things and you’re gambling | 你既要推动很多事情 还要下赌注 |
| [51:18] | and you’re looking at people’s eyes and you’re saying, | 你得看着他们的眼睛问他们 |
| [51:20] | “Can you do this for me?” | “你能帮我做出来吗?” |
| [51:22] | It was just a giant story. | 那是个庞大的故事 |
| [51:24] | Too many characters, too much going on | 有太多的角色 太多的情节 |
| [51:27] | and we were just drowning in this thing. | 可是我们全沉溺在其中 |
| [51:30] | So the producer goes to John and says, | 于是制作人去跟约翰说 |
| [51:32] | “John, we technologically cannot do crowd shots | “约翰 我们做的群众戏 |
| [51:36] | with more than 50 ants in them.” | 画面里面的蚂蚁不能超过50只” |
| [51:38] | “So can you design the movie around this limitation?” | “你设计的电影能不能不要超过这个限制” |
| [51:40] | And he said, “I’m willing to accept that if that’s all you can do, | 他说”如果这就是你的极限 我可以接受” |
| [51:43] | “but I think you guys can do better.” | “可是我认为你们能做得更好” |
| [51:44] | So he helped formulate this crowd team. | 于是他帮忙组成群众戏的小组 |
| [51:48] | He believed in them, he pushed them | 他相信他们 鞭策他们 |
| [51:50] | and at the end of the day, they were the heroes of the movie. | 最后他们成了这部电影的英雄 |
| [52:06] | Through new technological advancements, | 借由新技术的提升 |
| [52:08] | Pixar artists transformed 50 original crowd shots into 431, | 皮克斯的画家将原本50只的群众戏增加为431只 |
| [52:14] | and brought an epic of miniature proportions to the screen. | 并且让这种小小生物的史诗画面跃上银幕 |
| [52:19] | Pixar broke through the second film syndrome | 皮克斯打破第二部作品综合症 |
| [52:22] | and A Bug’s Life became the highest-grossing animated film of 1998. | 《虫虫危机》则成为1998年获利最高的动画电影 |
| [52:31] | After directing two back-to-back films, | 连续导完两部电影之后 |
| [52:34] | John returned home from the international promotional tour, | 约翰结束国际宣传之旅 回到老家 |
| [52:37] | now ready for a much-needed break. | 现在他需要好好休息一下 |
| [52:40] | I was exhausted. | 我太累了 |
| [52:42] | My family hadn’t seen much of me | 我的家人很少看到我 |
| [52:44] | and we were going to take the summer off. | 我们打算好好体息一个暑假 |
| [52:46] | Coming down the home stretch of Bug’s Life, | 《虫虫危机》的制作进入最后一个阶段时 |
| [52:49] | we were all feeling stressed. | 我们都觉得很沮丧 |
| [52:53] | And, you know, we had been sharing John a lot. | 因为约翰经常不在家 |
| [52:57] | As a family, you know, we needed some family time. | 身为一家人 应该分出时间陪家人 |
| [53:01] | Meanwhile, a secondary production team at Pixar | 与此同时 皮克斯的一个附属制作团队 |
| [53:04] | was making a direct-to-video sequel of Toy Story, | 正在做录影带版的《玩具总动员》续集 |
| [53:07] | the first project not supervised by John Lasseter. | 这是第一个不是由约翰监督的计划 |
| [53:11] | In February 1998, Disney decided to | 1998年2月 迪士尼决定 |
| [53:14] | release Toy Story 2 theatrically. | 让《玩具总动员2》在电影院上映 |
| [53:17] | But at Pixar, a creative crisis was growing within. | 但是皮克斯在经历一场是益严重的创意危机 |
| [53:22] | We knew Toy Sfory 2 was having troubles. | 我们知道《玩具总动员2》遇到了麻烦 |
| [53:23] | I don’t think we realized how bad it was really going, | 但是我们都不清楚实际情况有多严重 |
| [53:26] | and then we found out. | 但是后来我们知道了 |
| [53:29] | It just was not shaping up to be | 它做出来的样子 |
| [53:32] | at the level that we thought it needed to be. | 就是没有我们认为应该有的水准 |
| [53:37] | John came back from his European promotional trip | 约翰结束欧洲宣传之旅回来 |
| [53:40] | and then came in and saw the reels and said, | 进到公司看完样带就说 |
| [53:42] | “You’re right, it’s not very good.” | “你说得对 它拍得不太好” |
| [53:46] | So at that point, we went down to Disney and said, | 我们立刻跑到迪士尼去跟他们说 |
| [53:50] | “The film isn’t very good. We have to redo it.” | “这部片子不太好 我们得重拍” |
| [53:53] | And they said, “It actually is good enough, | 他们说”其实已经够好了” |
| [53:56] | “but more importantly, you literally do not have the time.” | “不过更重要的是 你们已经没有多余的时间了” |
| [54:01] | And what we said at the time was, | 当时我们的回答是 |
| [54:03] | “We can’t deliver it the way it is. We have to do it over again.” | “我们不能就这样交件 我们必须重新做一次” |
| [54:09] | We decided that the only course of action was to ask John to go in, | 我们决定唯一的解决办法就是请约翰归队 |
| [54:15] | right after he’d come off of A Bug’s Life, without any rest, | 所以忙完《虫虫危机》之后 他丝毫没有休息 |
| [54:19] | to go in and take over that film. | 就加了进来 掌控那部电影 |
| [54:24] | My feeling was | 我的感觉是 |
| [54:26] | I could not ask anybody at Pixar to do something | 我不能让皮克斯里的 |
| [54:29] | I was not willing to do myself. | 任何人来做连我也不愿意做的事 |
| [54:31] | I said to him, “Well, I support you all the way. | 我对他说”我完全支持你” |
| [54:35] | “I’d like to see you do this picture, but we also have a family here, | “我也希望你去做这部电影 但是我们还有一个家庭” |
| [54:38] | “and you’re gonna have to make changes in your day-to-day routine. | “所以你必须要改变你的作息时间” |
| [54:46] | “You’re gonna have to work normal hours.” | “你得照正常时间工作才行” |
| [54:48] | This is a movie that was already fully into production. | 这是一部已经全力在制作的电影 |
| [54:50] | A lot of it was animated. | 很多场面已经都画好了 |
| [54:52] | It was a bullet train heading towards a release date. | 它是开往上映日期的高速列车 |
| [54:56] | Over a single weekend, | 才一个星期 |
| [54:56] | John and his creative team from the first Toy Story | 约翰和第一部《玩具总动员》的创意团队 |
| [55:01] | reworked the entire script. | 便重编了整个剧本 |
| [55:02] | 吉姆·莫菲 皮克斯 动画师 | |
| [55:03] | John came back and pitched that story to the animation department. | 约翰回来向动画部门说明这个故事 |
| [55:06] | Just in that pitch, he totally fired everyone up | 只靠那场说明 就激励了每一个人 |
| [55:09] | and inspired everyone to really do the impossible. | 让大家愿意努力去追求不可能的目标 |
| [55:11] | Nine months before it’s supposed to come out, | 在上映的九个月 |
| [55:13] | John threw the vast majority of the movie out and started over, | 约翰删掉了大部分的内容重新制作 |
| [55:17] | which is unheard of. | 这是前所未闻的事 |
| [55:19] | With Tom Schumacher overseeing production for Disney, | 即使身为迪士尼监制的汤姆·舒马赫 |
| [55:21] | even he knew this was beyond the studio’s control. | 也知道这已经超过工作室的控制范围 |
| [55:26] | After a while, he said, “Guys, | 过了一阵子他说”各位 |
| [55:27] | you know better than I do what it’s gonna take to make this, so just go. | 要完成这一部片子要付出很多心力 所以尽管做 |
| [55:31] | “You have no time to wait for my approvals. | “没有时间等我的批准” |
| [55:33] | “Just go, go, go, go, go.” | “赶快去做就对了” |
| [55:37] | There’s kind of a chemistry with us. | 我们之间有一种化学作用 |
| [55:38] | We just spin off each other well, or build on top of each other. | 我们会延伸别人的创意 将别人的创意综合起来 |
| [55:42] | It’s always this core group of guys keeping each other in check. | 这群核心分子永远有办法整合所有的人 |
| [55:46] | We were able to finish each other’s sentences | 我们能接彼此要讲的话 |
| [55:47] | and take each other’s ideas and heighten them, | 还能让彼此的创意更出色 |
| [55:47] | and someone else would heighten it even more. | 而别人还能让这些创意更加出色 |
| [55:52] | They broadened the scope of Toy Story 2, | 他们将《玩具总动员2》的规模加大 |
| [55:54] | introducing new characters and special effects, | 启用新的角色和特效 |
| [55:57] | rivaling those of the best live-action epics. | 简直可以和真人演出的精彩史诗电影媲美 |
| [56:00] | The animators were pushed to their limits. | 动画师都被逼至他们的极限 |
| [56:17] | The amount of footage that was going through that studio was staggering. | 从工作室产生出来的影片量实在很惊人 |
| [56:21] | Seeing the work that’s coming out of the animators, | 看着那些动画师所完成的作品 |
| [56:23] | it’s actually inspired me as a director. | 真是让我这个做导演的大为感动 |
| [56:26] | Give it to a good animator, | 我只要跟一位出色动画师说 |
| [56:27] | “Okay, make this special, make this funny, | “让他特别 让他好笑 |
| [56:29] | make this entertaining for this moment.” | 让他具有娱乐性”就行了 |
| [56:31] | Some animators have the clear character stamps, | 动画师创造了鲜明的角色 |
| [56:34] | like Doug Sweetland. | 道格·斯威特兰便是其中之一 |
| [56:35] | 格伦·麦昆 皮克斯 高级动画师 | |
| [56:35] | 道格·斯威特兰 皮克斯 动画师 | |
| [56:36] | I was thinking that Woody would be coming outta the saloon. | 我心里想的是胡迪要从纱笼里面走出来 |
| [56:39] | Give us something like. . .boof! | 给人一种很帅的感觉 |
| [56:40] | There’s reasons for every single movement he does, | 他做的每一个动作都是有理由的 |
| [56:43] | which is hilarious. | 真的很爆笑 |
| [56:45] | He’s not, like, looking at her. | 他并不是在看她 |
| [56:46] | He’s kind of, like, looking over her shoulder, like, | 他像是越过她的肩膀看过去 |
| [56:48] | “Say, little missy, seen any trouble around these parts?” | 并说 “嘿 小姑娘 你在这一带有发现什么问题吗” |
| [57:10] | You’re trying to find what you would hope the audience would feel | 你得努力找出观众们观看这部电影时 |
| [57:14] | when they’re watching this movie. | 你希望他们感觉到的东西 |
| [57:16] | Every other department is on board to | 其他所有部门都投入这部电影当中 |
| [57:18] | use the environment, the color, the lighting, the animation, | 利用环境 色彩 灯光 动画 |
| [57:22] | to make the strongest possible statement | 让它尽可能产生最强烈的效果 |
| [57:25] | that when people are in a theater they’re gonna, | 让电影院中的观众看了会说 |
| [57:26] | “Wow, this is something special. | “哇 这部电影真特别” |
| [57:28] | “This is something that really affected me.” | “它真的能感动我” |
| [57:43] | I thought it was a very brave thing for them to do, | 我认为他们这么做是一件非常勇敢的事 |
| [57:46] | to think that five-year-olds | 他们竟然以为五岁大的小孩 |
| [57:48] | would sit still for three minutes of montage | 会乖乖地坐着听歌 看三分钟的蒙太奇 |
| [57:51] | and a ballad and something, you know, very sad, really. | 听了就叫人难过 |
| [58:13] | Tim Allen and I actually saw the movie | 蒂姆·艾伦和我是在 |
| [58:15] | together at the same time when it was all done, | 这部电影全部完成时一起看的 |
| [58:17] | and we had an understanding of what everything goes on. | 我们对制作时发生的事很了解 |
| [58:20] | But then when Jessie’s song came up, | 但是杰西的歌一出来 |
| [58:22] | we were just 40-year-old men | 几个四十岁的男人 |
| [58:23] | crying our eyes out over this abandoned cowgirl doll. | 为了这个被抛弃的女牛仔娃娃哭得不行 |
| [58:45] | At that moment you know that no one’s thinking | 在那一刻 你知道没有人会想 |
| [58:48] | “Well, this is just a cartoon. | 这只是动画 |
| [58:50] | “It’s just a bunch of pencil drawings on paper, | 那只是一堆纸上的铅笔素描 |
| [58:52] | “or this is a bunch of just computer data.” | 或者说这只是一堆电脑数据而已 |
| [58:55] | You know. No. These characters are alive and they’re real. | “是的 没错 这些角色是活生生的 他们是真的” |
| [59:00] | Toy Story 2 made its debut in theaters on its scheduled release date, | 《玩具总动员2》在预定上映的日期初次登场 |
| [59:04] | Thanksgiving Day, 1999, | 那是1999看的感恩节 |
| [59:07] | joining that rare number of sequels judged | 它成为少数几部被认为 |
| [59:09] | to be as good as or better than the original. | 是和首部作品一样好甚至更好的续集之一 |
| [59:12] | That was probably the greatest sense of accomplishment | 那可能是我这一辈子经历过的最大的一份成就感 |
| [59:15] | I’d ever had, and I think the studio’s ever had, in their life. | 我想也是工作室最有成就感的一次 |
| [59:21] | Everybody was so dedicated to it | 每个人都对它非常投入 |
| [59:24] | and loved Toy Story and those characters so much, | 大家都热爱玩具总动员和那些角色 |
| [59:27] | and loved the new movie so much, | 也都爱新的电影 |
| [59:29] | that we killed ourselves to make it. | 为了它都把自己逼过头了 |
| [59:31] | And it, you know, it took some people a year to recover. | 有的人花了一年的时间才复员 |
| [59:35] | It was tough. It was too tough. | 真的很难受 真的太难受了 |
| [59:38] | Toy Sfory 2 was the pivotal moment in this company. | 《玩具总动员2》是这家公司的巅峰时刻 |
| [59:42] | It’s when we actually defined who we were. | 我们终于证明我们的能力了 |
| [59:44] | From that we learned the important thing is not the idea, | 在这个过程中 我们了解到最重要的不是创意 |
| [59:48] | the important thing is the people. | 最重要的其实是人 |
| [59:51] | It’s how they work together, who they are, | 他们如何一起共事 |
| [59:54] | that matters more than anything else. | 比任何其他的事都重要 |
| [59:56] | Our business depends upon collaboration, | 我们的事业依赖的是协力合作 |
| [59:59] | and it depends upon unplanned collaboration. | 而且最依赖示经计划的协力合作 |
| [1:00:03] | And so we were just too spread out, | 先前我们都分得太散了 |
| [1:00:05] | and the groups were, you know, developing their own styles. | 每一个团体都在发展他们各自的风格 |
| [1:00:08] | We were growing into several divisions, instead of one company, | 我们壮大成几个部门 而不是一家公司 |
| [1:00:12] | and so the goal was pure and simple. | 但是我们的目标很单纯 |
| [1:00:15] | We want to put everybody under one roof, | 我们要让大家齐聚在一个屋檐下 |
| [1:00:17] | and we want to encourage unplanned collaborations. | 我们要鼓励未经计划的协力合作 |
| [1:00:23] | With Pixar’s facilities bursting at the seams, | 由于皮克斯的设备已经爆满 |
| [1:00:26] | Steve set his sights on 20 acres in Emeryville, California, | 史蒂夫看中位于加州爱莫利维尔的20亩大的土地 |
| [1:00:30] | where he envisioned a state-of-the-art animation facility, | 打算建一座最先进的动画工作室 |
| [1:00:33] | a home for the best artists and scientists | 一个顶尖画家和科学家的家园 |
| [1:00:35] | to create and play under one roof. | 让他们在一个屋檐下创作嬉戏 |
| [1:00:40] | Welcome, ladies and gentlemen, | 女士们先生们 |
| [1:00:42] | to the first annual Pixar lnternational Air Show! | 欢迎参加第一届皮克斯年度国际航空大展 |
| [1:00:52] | The building itself has helped so much, | 这一栋建筑对我们用处很大 |
| [1:00:54] | because Pixar is its people. | 因为皮克斯的资产就是人 |
| [1:00:56] | And we maintain the same philosophy | 我们维持同样的信念 |
| [1:00:59] | of “an office is an empty canvas,” and it’s so fun. | “一间办公室 就是一张空白的画布” 它真的很有趣 |
| [1:01:08] | One of the things that we wanted to do with this studio is to grow it | 我们对这个工作室的期望是让它成长 |
| [1:01:12] | so that we could be eventually releasing one movie every year. | 这样我们最后才能每年发行一部电影 |
| [1:01:17] | So that means we have to have a bunch of overlapping productions. | 虽然我们得同时进行好几部片子 |
| [1:01:20] | And so that gave the opportunity to where, | 但这是一个很好的机会 |
| [1:01:22] | some of my close colleagues, | 几个与我很亲密的同事 |
| [1:01:24] | give them a chance to direct their own films. | 有机会可以搞他们自己的电影了 |
| [1:01:26] | The second animator, after me, | 在我之后 皮克斯雇佣的 |
| [1:01:29] | who was ever hired at Pixar was Andrew Stanton. | 第二位动画师是安德鲁·斯坦顿 |
| [1:01:31] | And then Pete Docter was soon after that. | 再来是皮特·道格特 |
| [1:01:33] | And I knew right away that these guys | 我立刻就知道这些人 |
| [1:01:35] | are good enough to make their own films. | 好得足以拍他们自己的电影 |
| [1:01:39] | John chose Pete Docter to direct the next feature film at Pixar, | 约翰选择皮特·道格特 来导皮克斯的下一部剧情长片 |
| [1:01:44] | a decision that did not come without doubts. | 这一决定引起某些人的疑虑 |
| [1:01:48] | I was not convinced that | 我不相信少了约翰 |
| [1:01:50] | he could hold up this weight without John. | 他挑得起这个重担 |
| [1:01:52] | He hadn’t done it before. | 他根本没有经验 |
| [1:01:53] | He hadn’t been an associate director before, | 他没有当过助理导演 |
| [1:01:55] | he hadn’t been the number two, he hadn’t been a co-director before. | 他没有当过副导演 没有当过共同导演 |
| [1:01:59] | It was really throwing him into the lion’s den. | 这简直是把他丢到虎穴里去 |
| [1:02:02] | My biggest challenge was that I was following in the footsteps of John Lasseter. | 我最大的挑战是 我一向追随约翰·拉塞特的脚步 |
| [1:02:06] | To come in and say, “Okay, now I’m gonna direct this,” | 现在要说让我自己来导一部电影 |
| [1:02:08] | 皮特·道格特 怪物公司 导演 | |
| [1:02:09] | it was a tough act to follow. | 实在是一件很困难的事 |
| [1:02:11] | Pete had this fundamental idea | 彼得有一个基本构想 |
| [1:02:13] | that when children say, “‘There’s a monster in the closet,” | 就是当儿童说衣柜里有怪物时 |
| [1:02:15] | they’re actually telling the truth. | 他说的其实都是真的 |
| [1:02:16] | The rest of it was all over the map. | 至于其他的还得慢慢想 |
| [1:02:21] | There were too many possibilities. | 它的可能性实在太多了 |
| [1:02:22] | Monsters, it could be anything, anything in the world. | 怪物可能是世界上任何一种东西 |
| [1:02:25] | So, it was almost too much freedom. | 所以能发挥的空间太大了 |
| [1:02:28] | We knew we wanted fur. We had no idea how to do it. | 我们想要有毛的东西 但是不知道该怎么做 |
| [1:02:31] | And that was, of course, one of the more difficult things to do. | 这一点当然也是比较困难的一件事 |
| [1:02:51] | These people think differently than normal people. | 这些人的想法跟正常人不一样 |
| [1:02:55] | They’re strange. In the best way. | 他们很奇怪 是正面意义上的奇怪 |
| [1:02:58] | When we thought of Billy Crystal, | 当我们想到比利·克里斯多时 |
| [1:02:59] | we thought, “Wow, this is gonna be great.” | 我们心想一定会很精彩 |
| [1:03:01] | Of course, he just added his own unique spin to it. | 当然他也为角色添加了他独特的风格 |
| [1:03:04] | Mike was an appealing, | 大眼仔是个讨人喜欢 |
| [1:03:06] | odd little guy | 怪怪的小家伙 |
| [1:03:07] | who I thought was a combination of Mr. Toad and Sammy Davis, Jr. | 我想他是蟾蜍先生和小萨米·戴维斯的综合体 |
| [1:03:19] | And the way he moves and his face and stuff like that. | 他活动的方式 表情 和动作很特别 |
| [1:03:21] | And then, when I decided on a voice, it just all seemed to work. | 所以当我决定用这种声音时 感觉还蛮配的 |
| [1:03:30] | The whole little guy was one of my favorite characters that I’ve ever played. | 他是我配过的最喜欢的角色之一 |
| [1:03:38] | What shocked me about the movie was the size of it. | 让我震惊的是 电影的规模 |
| [1:03:44] | I was astounded by the chase and the door sequence. | 追逐戏 和门的片段 实在让人大吃一惊 |
| [1:03:47] | When you see the millions of doors moving, | 当你看到数百万的门在动 |
| [1:03:49] | and they’re all individually done, that just blew me away. | 而每一个都是单独画出来的 这真叫人佩服不已 |
| [1:03:59] | It was a wild ride, because it was such a complex movie, | 整个过程很刺激 因为这是一部很复杂的电影 |
| [1:04:03] | and it didn’t find its center for a very long time. | 而且很长一段时间都没有中心主题 |
| [1:04:05] | And then when it did, its center was so good, | 但是当中心主题又出现时又是那么精彩 |
| [1:04:09] | people went nuts for it. | 大家都为它疯狂 |
| [1:04:10] | The last shot of Monsters, lncorporated animation is now officially final! | 《怪物公司》的最后一场戏现在正式结束 |
| [1:04:20] | Pete emerged as a remarkably sensitive, smart, | 结果证明彼得是个非常敏锐 聪明 |
| [1:04:25] | really great director, and he owns this movie. | 真正了不起的导演 这部电影是他的 |
| [1:04:28] | He completely owns this movie. | 这部电影完全是他的 |
| [1:04:31] | The historic success of Monsters, lnc., | 《怪物公司》获得历史性的成功 |
| [1:04:33] | the highest-grossing animated film released to its date, | 它是当时最卖座的动画电影 |
| [1:04:37] | now placed added stress on the | 这些强大的压力都加在了 |
| [1:04:39] | next director in line, Andrew Stanton. | 下一位导演安德鲁·斯坦顿身上 |
| [1:04:41] | So, the pressure. It’s begun? | 开始感觉到压力了吗? |
| [1:05:00] | There’s no reason, Andrew, to be feeling any more pressure. | 安德鲁 你千万不要觉得有压力 |
| [1:05:04] | I’m fine! I’m fine! | 我没事！我很好！ |
| [1:05:12] | I remember in ’92, when my son was just born, | 我记得1992年的时候 我儿子刚出生 |
| [1:05:14] | going to Marine World, and they had this shark exhibit, | 我们到海洋世界去 他们有个鲨鱼展览 |
| [1:05:18] | 安德鲁·斯坦顿 海底总动员 导演 | |
| [1:05:18] | where you kind of walk through a tunnel and they swim over you. | 从一个隧道走过去 它们就在你的上面游 |
| [1:05:20] | It was like a glass tunnel. | 像是一种玻璃隧道 |
| [1:05:21] | You could get up really close, | 你可以仔细地观赏海底世界 |
| [1:05:22] | see underwater and lose all your peripheral vision | 在那个人造的世界里 |
| [1:05:24] | of anybody around you in the man-made world. | 忘记周遭所有的存在 |
| [1:05:27] | And I remember thinking then, you know, this is 10 years ago, | 那已经是十看前的事了 当时我就想 |
| [1:05:30] | “We could make this world.” | 我们可以创造这个世界 |
| [1:05:32] | CG would be perfect for this world, you could capture it so well. | 用电脑绘图可以很精确地捕捉它 |
| [1:05:48] | Without meaning to, | 我不是特意去做 |
| [1:05:49] | I sort of made this epic journey that | 但是这一趟壮观的旅程 |
| [1:05:51] | takes you all over the ocean. | 就是会带着你游遍整个海洋 |
| [1:05:52] | That meant every set piece had to be different. | 这意味着每个场景都不一样 |
| [1:05:55] | The look of being underwater is | 从技术角度来看 |
| [1:05:56] | actually quite simple from a technical standpoint. | 身在海底的感觉倒是很容易制造出来 |
| [1:05:59] | It was just really tough to dial all the different ingredients just right. | 真正困难的是要把所有的素材融合在一起 |
| [1:06:03] | You know, I think if I had known that’s what I was gonna be signing up for, | 我想当初如果我知道要面对怎样的问题 |
| [1:06:06] | and everybody else, I don’t think anybody would’ve done it. | 大概就会觉得没有人能够做到这一切了 |
| [1:06:12] | Seeing his son kidnapped before his eyes, | 看到他儿子在他面前被人绑架 |
| [1:06:14] | the overprotective father, Marlin, | 这位保护过度的爸爸马林 |
| [1:06:16] | travels across the vast ocean to find his son, Nemo. | 横越浩瀚的海洋寻找他的儿子尼莫 |
| [1:06:20] | And along the way, learns to become a better father. | 并且在旅程中学会怎么当个更好的爸爸 |
| [1:06:42] | The challenge on Nemo | 《海底总动员》的挑战 |
| [1:06:43] | is the same challenge that we had on the first Toy Story, | 跟我们拍《玩具总动员》第一部所面对的一样 |
| [1:06:43] | 李·昂魁里奇 海底总动员 总监 | |
| [1:06:45] | which is making a good movie. It really comes down to that. | 就是如何使它成为一部好的电影 真的就是这么简单 |
| [1:06:48] | I mean, each film has its own technical hurdles that we have to overcome. | 当然每部电影都有它特殊的技术障碍需要克服 |
| [1:06:53] | But we spend the first two-and-a-half years | 但是在制作《海底总动员》最初的两年半里 |
| [1:06:56] | making these films doing nothing but working out the stories. | 我们什么事没做 只是努力地在编剧情 |
| [1:07:19] | Every morning we get together in the screening room | 每天早上 我们和所有导演 |
| [1:07:21] | with the directors and all the other animators | 以及其他动画师齐聚在试映室 |
| [1:07:22] | 吉姆·莫菲 皮克斯 动画师 | |
| [1:07:23] | and we all show our shots in various stages of completion. | 播放大家现阶段做好的画面给其他人看 |
| [1:07:27] | Everybody is entitled to their opinion and to say it out loud. | 每个人都有权利大声说出他的意见 |
| [1:07:31] | So it’s a very healthy, and sometimes intimidating, forum. | 那是一种非常健康 有时候又有点可怕的论坛 |
| [1:07:35] | Doug is next. | 下一个是道格 |
| [1:07:48] | You know, Nemo should be looking at his dad at the beginning of the shot. | 镜头开始的时候 尼莫应该要看着他爸爸才对 |
| [1:07:52] | All the time? | 一直看吗? |
| [1:07:53] | Yeah. He looks like he’s dead. | 对 他现在这个样子好像死了 |
| [1:07:55] | -He looks like he’s given up. -Okay. | -他的样子看起来好像已经放弃了 -了解 |
| [1:07:56] | I think he’s, anyway, he looked at his dad, | 总而言之 我认为他应该看他的爸爸 |
| [1:07:58] | and then looked at his fin, and he should be, like, | 然后看他的鳍 |
| [1:08:00] | looking at him for acknowledgement the whole time. | 再看着他 从头到尾都想得到他的认同 |
| [1:08:01] | -Okay. -Like they touch the fin and they stay looking at each other and. . . | -好的 -比如他们互相碰碰鱼鳍 而且看着对方 |
| [1:08:04] | -Okay. -I think that’s missing. | -好 -我想缺少的就是这些 |
| [1:08:16] | 道格·斯威特兰 皮克斯 动画师 | |
| [1:08:17] | I was, focusing primarily on the father and not on… | 我注意的焦点主要是爸爸 而不是 |
| [1:08:21] | Really not on Nemo. | 在尼莫身上 |
| [1:08:22] | So I just kind of had Nemo default to this kind of eyes forward pose, | 所以把尼莫设定成眼睛往前直视的姿势 |
| [1:08:26] | not even thinking about, like, how it would read, | 想都没有想到别人会怎么解读这个动作 |
| [1:08:29] | except that hopefully you’re looking at father, right? | 我原本希望大家只注意到爸爸 |
| [1:08:32] | But Andrew read it, and he was totally right, | 但是安德鲁注意到了 他说的完全正确 |
| [1:08:35] | that it looks completely indifferent. | 他看起来就是一副无动于衷的样子 |
| [1:08:37] | And, so now I have to give the same treatment I gave father to Nemo. | 所以现在我得用处理爸爸的方式来处理尼莫 |
| [1:08:44] | But you know, it’s, you know, it’s not like starting over or anything, | 可是我不需要再重新做一遍 |
| [1:08:47] | but I have to imbue that character with something. | 我只要再把这个角色处理一下 |
| [1:08:50] | So now what I can do is just go back into the thumbnails | 所以我现在可以回到缩略图 |
| [1:08:53] | look, here’s ghost of Nemo, ghost of Nemo. | 看 这是尼莫的鬼魂 尼莫的鬼魂 |
| [1:08:58] | I have, like, father doing all this acting to this lump. | 我让爸爸对这些东西做出动作 |
| [1:09:01] | So, now maybe what I could do is just use these same drawings. | 那现在我也可以用这些图做相同的事 |
| [1:09:08] | It’ll be good, this shot’ll be a lot better. | 这样就行了 这样画面会好看很多 |
| [1:09:11] | I had done all this stuff, too, where | 这样的事我曾经做过 |
| [1:09:16] | the fin is, like, the symbol of the movie. | 这个鳍就像是这部电影的象征一样 |
| [1:09:18] | His accepting of his son is also the letting go of the past or the loss, the trauma. | 在接纳他儿子的同时 他也是在抛开失去家人的创伤 |
| [1:09:22] | And what is it. . . What is it to take someone’s hand? | 除此之外 牵一个的手代表什么 |
| [1:09:25] | Not only is it an opportunity just to physically, | 不只是有机会让身体接触 |
| [1:09:27] | like touch and connect with his son, | 象征他和他儿子之间的连接 |
| [1:09:29] | it also marks the new relationship. | 同时强调出这种新的关系 |
| [1:10:21] | In 2003, Finding Nemo surpassed Pixar’s own previous marks, | 2003年《海底总动员》超越皮克斯之前的纪录 |
| [1:10:26] | making it the new highest grossing animated film in history. | 成为历史上最卖座的动画电影 |
| [1:10:29] | And director Andrew Stanton won the Oscar for best animated feature. | 导演安德鲁·斯坦顿 则赢得奥斯卡最佳动画长片奖 |
| [1:10:33] | But the enormous success of Finding Nemo | 但是《海底总动员》空前的成功 |
| [1:10:35] | meant that expectations were now even higher, | 使大家对他的期待更高 |
| [1:10:38] | as Brad Bird, the first outside director, | 一位外聘的导演布拉德·伯德 |
| [1:10:40] | was invited in to direct a feature. | 却在此时应邀导一部动画长片 |
| [1:10:43] | Well, here I am, pulling into Pixar, | 好了 我到了 我要开进皮克斯 |
| [1:10:47] | first time, into Pixar. . . Yeah. | 第一次进皮克斯 |
| [1:10:52] | Brad was an old classmate of John Lasseter’s from CalArts. | 布拉德是约翰在加州艺术大学时的同学 |
| [1:10:55] | He had made the critically acclaimed 2-D hand animated film, The lron Giant. | 他以手绘动画电影《铁巨人》而声名大噪 |
| [1:11:01] | Brad and I stayed in touch, | 布拉德跟我一直有联络 |
| [1:11:03] | and he pitched us on an idea called The lncredibles, | 他跟我提到一个叫《超人总动员》的构想 |
| [1:11:06] | and it’s a family of superheroes, | 他们一家子都是超级英雄 |
| [1:11:08] | and originally he was thinking of it being cell-animated, | 他原本是想用2D动画来做 |
| [1:11:11] | but he thought it could work in 3-D computer animation. | 但是又觉得也可以用3D电脑动画来做 |
| [1:11:13] | I fell in love with it right away, | 我立刻就爱上了这个故事 |
| [1:11:15] | but the thing I loved about it the most was this story of this family. | 但是我最喜欢的是 这是一家人的故事 |
| [1:11:19] | It’s got so much heart to it. | 有很多温馨感人的剧情 |
| [1:11:21] | I’ve just been given my card key. | 我刚刚拿到我的卡片钥匙 |
| [1:11:24] | Now I can get into all the secret chambers of Pixar. | 现在我可以走进皮克斯的每一个秘密房间 |
| [1:11:28] | This is where A Bug’s Life was actually filmed, on location, right here. | 这是拍摄《虫虫危机》的地方 就是在这里取景的 |
| [1:11:34] | Good to see you. | 很高兴见到你 |
| [1:11:35] | Any company that had four hits in a row | 任何一家连续推出4部卖座电影的公司 |
| [1:11:36] | 布拉德·伯德 超人总动员 导演 | |
| [1:11:38] | would not be open to changing anything. | 一定不愿意做任何改变 |
| [1:11:41] | This place was the exact opposite. | 这个地方刚好完全机反 |
| [1:11:44] | They were saying, “‘Look, we’ve had four hits in a row. | 他们说”我们连续4部片都很卖座” |
| [1:11:47] | “We are in danger of repeating ourselves, | “现在的危险可能是落入俗套 “ |
| [1:11:51] | “or of getting too satisfied and we need to shake this place up.” | “或是过于自满 我们需要让这里震撼一下” |
| [1:11:56] | Keep it moving. Keep it, Kate, | 继续向前走 向前走 凯特 |
| [1:11:57] | nice to see you. Keep it moving. | 很高兴见到你 向前走 |
| [1:11:58] | I’m here to tell you, | 我要告诉你们 |
| [1:12:00] | you guys are kind of in your wood-fired pizza mode | 你们像是一群正在吃顶级批萨的人 |
| [1:12:02] | and, a lot of you are, | 很多人的心态都是 |
| [1:12:04] | “Yeah, I work at the place where we make hit after hit.” | “对 我们烤出了一盘又一盘顶级批萨” |
| [1:12:10] | But, you know, I’m telling you, I’ve been out in that real world | 但是各位 我告诉你们 我曾经在现实世界待过 |
| [1:12:16] | as some of you also have been, | 你们有些人也是 |
| [1:12:18] | and you who have been out there know what I’m talking about. | 那些经历过的人都知道我在说什么 |
| [1:12:21] | This is an anomaly, | 这是不正常的 |
| [1:12:22] | this place is, A, | 这个地方 第一 |
| [1:12:23] | really freakishly alone in this hit-after-hit aspect, | 它所创造的每一部电影都卖座 这是绝无仅有的 |
| [1:12:30] | and, two, you know, these kind of projects don’t happen that often. | 第二 各位 这样的拍片计划并不常见 |
| [1:12:37] | Grab this opportunity and run with it. | 所以各位要把握机会 全情投入 |
| [1:12:40] | You know, film is forever, you know, pain is temporary. | 电影是永远的 痛苦则是暂时的 |
| [1:12:44] | Once we brought Brad into Pixar, we all were learning again. | 把布拉德请进皮克斯之后 我们又开始学习了 |
| [1:12:48] | And he has brought in his clese colleborators on lron Giant, | 他把拍《铁巨人》时的亲密团队带进来 |
| [1:12:52] | and they are amazing. | 他们都很了不起 |
| [1:12:54] | The 2-D people that I brought up wrestled with the box, | 我带进来的2D人才跟那些方盒子缠斗 |
| [1:12:58] | you know, just trying to figure out how to make the computer do what you want it to do. | 想弄清楚怎么让电脑做出你让它做的事 |
| [1:13:03] | The computer exists in two worlds, | 电脑里只有两种世界 |
| [1:13:05] | it’s either the most brilliant thing you’ve ever seen, or it’s completely mad. | 不是你前所未见的很精彩 就是彻底得很疯狂 |
| [1:13:13] | The 2-D animators took the traditional storyboarding process into the third dimension, | 2D动画师将传统的编剧过程用在3D上 |
| [1:13:17] | providing dynamic new ways to visualize storytelling. | 以灵活的新方式将故事具体呈现出来 |
| [1:13:29] | If you named the 10 most difficult things to do in animation, | 如果将制作动画最困难的十件事情列出来 |
| [1:13:33] | we had them all, and large amounts of them all, humans. . . | 每一件都被我们遇到了 而且其中占最大部分的是人 |
| [1:13:38] | Hair, | 头发 |
| [1:13:40] | fabric. | 布料 |
| [1:13:41] | Hair and fabric under water. | 水下的头发和布料 |
| [1:13:43] | Hair and fabric blowing through the air. | 被风吹动的头发和布料 |
| [1:13:46] | It was just endless. | 简直没完没了 |
| [1:14:10] | The lncredibles marked Pixar’s sixth hit in a row, | 《超人总动员》是皮克斯 接连大卖的第六部电影 |
| [1:14:14] | and Brad Bird won his first | 还让布拉德·伯德得到 |
| [1:14:16] | Academy Award for best animated feature. | 第一座奥斯卡最佳动画长片奖 |
| [1:14:20] | Now that I’ve made a Pixar film, a lot of people have asked, | 我已经拍了一部皮克斯电影 很多人都问我 |
| [1:14:23] | “What is the secret formula?” | 它的秘诀是什么 |
| [1:14:24] | As if there’s some magical calculation. | 她像真的有什么神奇秘方一样 |
| [1:14:27] | And I say, “It’s really pretty simple, everyone here loves films. | 我则说”其实真的很简单 这里的人都爱电影” |
| [1:14:32] | “And they just wanna make something that they themselves wanna see.” | “他们只想拍出他们自己会想看的电影” |
| [1:14:38] | By 2004, the success of The lncredibles | “到了2004年《超人总动员》 |
| [1:14:42] | and other computer-animated films | 和其他电脑动画电影的成功 |
| [1:14:44] | was leading to an industry-wide belief that | 已经使业界普遍相信 |
| [1:14:46] | making CG movies was a foolproof formula for box office hits. | 拍摄电脑动画电影是保证电影票房的不二法门 |
| [1:14:52] | As many of the 2-D films failed at the box office, | 由于许多2D电影的票房都很差 |
| [1:14:56] | hand-drawn animation now faced extinction for the first time in history. | 手绘动画在历史上首次濒临绝迹 |
| [1:15:01] | There was this period in this country, | 国内是有这么一段时期 |
| [1:15:03] | and it happened at Dreamworks and it happened at Disney Animation, | 它发生在梦工厂 也发生在迪士尼的动画部门 |
| [1:15:07] | and that was that they had some films which hadn’t done well. | 但不客气地说 其实是他们的一些电影没有拍好 |
| [1:15:12] | The stories weren’t strong, to be candid, | 故事性不够强 |
| [1:15:16] | and the heads of the respective studios at the time said, | 但是这两个工作室当时的首脑都说 |
| [1:15:19] | “Well, the problem is they’re in 2-D, | “问题在于他们是2D的” |
| [1:15:21] | “and the audience has lost the taste for 2-D.” | “观众对2D已经没兴趣了” |
| [1:15:24] | And so they switched over to 3-D, | 于是他们转而制作3D的 |
| [1:15:26] | and basically shut down 2-D animation in this country. | 就这样让这个国家的2D动画倒闭了 |
| [1:15:29] | The derived idea was, “Well, nobody wants to see 2-D anymore.” | 它衍生出来的想法是 “已经没有人要看2D动画了” |
| [1:15:29] | 罗伊·迪士尼 沃尔特·迪士尼公司 名誉教授和顾问 | |
| [1:15:36] | The fact was, they’d love to see a good 2-D movie, | “事实上 观众们很乐意看一部好的2D电影 |
| [1:15:39] | that was never the question, you know, but. . . | 这一点是毋庸质疑的 |
| [1:15:44] | It was horrible, | 实在很可怕 |
| [1:15:45] | you know, to come to this conclusion that only 3-D was gonna be our future. | 但是大家的结论却是未来将只剩下3D电影 |
| [1:15:53] | There was enormous loss of morale, | 业界的士气沉入谷底 |
| [1:15:55] | there was an enormous loss of the will to live, in a sense, of making good product. | 大家已经失去了制作一部好电影的意志 |
| [1:16:01] | And they were selling off animation desks, | 他们在出售透写台 |
| [1:16:04] | they were, you know, just leading talented artists out the door | 他们牵着才华横溢的画家的鼻子到门口 |
| [1:16:08] | by their nose and saying, you know, “We don’t need you anymore.” | 并且他们说 我们已经不需要你们了 |
| [1:16:12] | And there was a very painful period | 那是个非常痛苦的时期 |
| [1:16:15] | that was like someone dying, just to see what happened, | 就像有人快死了 你却只能袖手旁观 |
| [1:16:19] | I mean it had to do with so many, many people losing their jobs. | 许许多多的人失去了工作 |
| [1:16:20] | 罗恩·克莱蒙兹 沃尔特·迪士尼工作室 导演 | |
| [1:16:24] | But even more than that, just, a sort of art form | 但是不仅如此 一个历经数十年才累积起来的 |
| [1:16:27] | that had been built up over a period of decades,was just abandoned, | 艺术形竟然被弃如敝屣 |
| [1:16:30] | 沃德·金博尔 迪士尼原创动画师 | |
| [1:16:32] | I think because it was not the hot ticket at the moment. | 只是因为它当时不受欢迎的缘故 |
| [1:16:38] | Everybody at Pixar loves 3-D animation, | 皮克斯的每个人都爱3D动画 |
| [1:16:42] | you know, we helped develop it. But we also love 2-D animation, | 因为我们开发了它 但是我们也爱2D动画 |
| [1:16:45] | and to think that 2-D was shut down, | 想到他们要结束2D |
| [1:16:47] | and that we were used as an excuse to shut it down was awful. | 还拿我们来当关闭的借口 就很难过 |
| [1:16:52] | We saw this art form being thrown away, | 看到这种艺术形式 就这样被抛弃 |
| [1:16:55] | so, for us, it was just, it was a tragic time. | 对我们来说 也是很悲痛的时刻 |
| [1:17:00] | As Pixar and Disney faced the end of their contract, | 当皮克斯和迪士尼合约接近尾声时 |
| [1:17:03] | the two studios clashed over terms of a more equitable deal. | 为了争取更公平的条款 两家公司不断发生冲突 |
| [1:17:07] | All the while, Disney prepared to develop direct-to-video sequels | 在此同时 迪士尼准备 发行录影带的皮克斯电影续集 |
| [1:17:10] | of the Pixar films without Pixar’s involvement. | 而且不让皮克斯参与制作 |
| [1:17:15] | Our belief is that, since we created the characters, | 我们的信念是既然角色是我们创作的 |
| [1:17:19] | the original creators are the ones who should carry on with it, and give them life. | 原创者就应该要继续接手下去 做出成果来 |
| [1:17:24] | And to turn it over to | 为了短期经济利益 |
| [1:17:25] | somebody else for short-term economic gain just didn’t make any sense. | 而将他拱手让人 实在不合理 |
| [1:17:29] | It was like turning over your children to somebody else. | 就像把你的孩子交给别人一样 |
| [1:17:33] | We were gonna lose those characters. | 我们会失去那些角色 |
| [1:17:35] | It was actually unfortunate at that time | 在当时那是一件很不幸的事 |
| [1:17:38] | because we’d had this phenomenal relationship with Disney all these years, | 我们和迪士尼的合作都很愉快 |
| [1:17:41] | where we were an independent company | 那时我们是一家独立公司 |
| [1:17:43] | and they did the distribution and the marketing. | 他们负责发行和行销 |
| [1:17:45] | By 2004, Steve Jobs opened talks with other studios, | 到了2004年史蒂夫·乔布斯公开与其他公司接洽 |
| [1:17:49] | while at Pixar, a cloud of anxiety hung over employees | 然而在皮克斯员工们的头上去罩着焦虑的乌云 |
| [1:17:52] | who felt that a merger with a larger company | 他们觉得和一家大公司合并 |
| [1:17:55] | could threaten the loss of their unique spirit and creative culture. | 可能会让他们失去独特的精神和创意文化 |
| [1:17:59] | It was very clear that none of them wanted to do that. | 显然大家都不想那么做 |
| [1:18:02] | They wanted to be an independent company, | 他们只想做一个独立的公司 |
| [1:18:04] | whereas if we were to become independent, | 但是如果我们想要独立 |
| [1:18:06] | we’d have to take on marketing | 就得接下发行和行销的工作 |
| [1:18:07] | and distribution and get another partner. | 而且找别的合伙人可能会让 |
| [1:18:09] | And it would change the culture in ways that we didn’t necessarily want. | 我们的文化变得有悖于我们的期望 |
| [1:18:14] | But by 2005, a corporate shake-up | 但是到了2005年迪士尼内部发生骤变 |
| [1:18:16] | within Disney led to the replacement of Michael Eisner. | 麦克·艾斯纳下台 |
| [1:18:19] | Bob Iger was appointed as the new CEC, | 鲍勃·伊格尔被指派为新一任首席执行官 |
| [1:18:22] | and expectations ran high | 各界衷心期待 |
| [1:18:24] | that he might repair the broken relationship with Pixar. | 他能修补和皮克斯之间的关系 |
| [1:18:28] | As I neared the day that I was going to become CEO, | 当接掌首席执行官的日子逐渐逼近的时候 |
| [1:18:31] | and I started to focus more and more about the future of the company, | 我开始越来越专注在公司的未来上面 |
| [1:18:33] | 鲍勃·伊格尔 沃尔特·迪士尼公司 首席执行官 | |
| [1:18:35] | it became more and more clear that | 而且也越来越清楚 |
| [1:18:38] | for Disney to truly be successful in the future, | 未来的迪士尼若要成功 |
| [1:18:41] | we had to return to the glory days of animation. | 我们就要重拾动画时期的荣光 |
| [1:18:44] | So I began focusing on how to do that, | 我开始思考应该怎么做 |
| [1:18:46] | and it really begins with finding the right people. | 首先就是要寻找适当的人才 |
| [1:18:50] | The more I thought about it, the more I realized that | 但是我想得越多就越发现从动画的角度来看 |
| [1:18:52] | Pixar had more of the right people | 皮克斯具备的优秀人才 |
| [1:18:54] | than probably any other place in the world, from an animation perspective. | 大概是世界上其他地方比不上的 |
| [1:19:00] | I then went to the opening of Hong Kong Disneyland in September, | 接着我在9月去主持 香港迪士尼乐园的开幕典礼 |
| [1:19:05] | and the parade went by. | 看着游行队伍过去 |
| [1:19:06] | It hit me that the characters that | 我突然发现游行队伍中的角色 |
| [1:19:09] | were in the parade all came from films that had been made prior to the mid-’90s, | 全出自20世纪90年代中期的老电影 |
| [1:19:14] | except for some of the Pixar characters. | 只有几个是皮克斯的人物 |
| [1:19:16] | I felt that I needed to think even more out of the box than I had been thinking, | 我觉得我必须要跳出框架 以更灵活的方式来思考 |
| [1:19:21] | and I had a much greater sense of urgency. | 而且我觉得很有挫折感 |
| [1:19:24] | I became CEO October 1st. | 10月1日 我就任首席执行官 |
| [1:19:27] | I called Steve around that time | 大概在那时我打电话给史蒂夫 |
| [1:19:29] | and said I thought we ought to talk, | 说我认为我们应该谈一谈 |
| [1:19:31] | I had some bigger ideas. | 我有一些很棒的点子 |
| [1:19:33] | And that began a long period of discussion, | 接着就展开了长期的讨论 |
| [1:19:36] | because it was very serious for both sides. | 因为双方对此事都很认真 |
| [1:19:40] | He really needed to feel comfortable that Pixar was in the right hands | 他真的需要确定皮克斯不会所托非人 |
| [1:19:44] | and, more importantly, respect the talent and the culture. | 更重要的是他们的才华和文化都要受到尊重 |
| [1:19:49] | We were extremely impressed with his view of where Disney could go. | 他对迪士尼未来的愿景令我们都非常佩服 |
| [1:19:53] | This changed the equation dramatically, | 这一点造成了戏剧化的改变 |
| [1:19:56] | and in the end with weighing everything, | 在衡量过细节之后 |
| [1:19:59] | we came to the conclusion | 我们的结论是 |
| [1:20:00] | that the best thing we could do was to join up with Disney. | 最好的做法就是加入迪士尼 |
| [1:20:05] | The $7 .4 billion acquisition deal provided Steve Jobs | 由于史蒂夫·乔布斯是皮克斯最大的股东 |
| [1:20:08] | a seat on the Disney board | 双方以74亿美元完成交易后 |
| [1:20:10] | as the company’s largest shareholder, | 他在迪士尼董事会拥有一席 |
| [1:20:12] | made John Lasseter Chief Creative Cfficer, | 约翰·拉塞特成为创意执行总监 |
| [1:20:14] | and Ed Catmull, | 爱德·卡特穆尔则是 |
| [1:20:15] | President of Disney and Pixar Animation Studios. | 迪士尼 和皮克斯动画工作室的总经理 |
| [1:20:18] | We’re convinced that Bob really understands Pixar, | 我们相信鲍勃真的了解皮克斯 |
| [1:20:22] | and we think we have some appreciation of Disney | 我们感激迪士尼 |
| [1:20:25] | and love the unique Disney assets | 也喜欢迪士尼独特的优点 |
| [1:20:27] | like being able to get the characters in the theme parks | 像是我们的角色进入主题乐园 |
| [1:20:29] | and really express them throughout all of Disney’s incredible assets. | 并且让他们出现在迪士尼所有了不起的产品上 |
| [1:20:33] | And we think we understand how to keep Pixar being Pixar | 我们认为我们知道怎么让皮克斯继续维持原貌 |
| [1:20:38] | and how to spread some of that culture around and maybe, | 并且把我们的文化散播到 |
| [1:20:41] | you know, a few other parts of Disney as well. | 迪士尼的其他几个地方去 |
| [1:20:43] | “Cause we think we got something pretty good going here. | 因为我们认为我们的做法很不错 |
| [1:20:46] | While we will make 3-D movies, | 我们除了会拍3D电影 |
| [1:20:48] | we’re also gonna make 2-D movies | 也打算拍2D电影 |
| [1:20:50] | ’cause it’s part of this wonderful heritage that we’ve got here, | 因为在我们建立的美好传统中 它也是一部分 |
| [1:20:53] | and it’s a beautiful art form. | 而且它是一种美丽的艺术形式 |
| [1:20:55] | It feels like this is the true culmination of the building of Pixar | 感觉上这是皮克斯和这家神奇公司的最巅峰了 |
| [1:20:59] | and this amazing company into something which will continue on | 而且它还会保持下去 |
| [1:21:02] | and continue to make waves in the future. | 在未来继续制造高潮 |
| [1:21:04] | This deal is expected to close this summer just about the time that | 这场交易预计将在今年夏天完成 |
| [1:21:06] | Pixar will release its seventh feature film, called Cars. | 皮克斯也将发行第七部长片《汽车总动员》 |
| [1:21:16] | John Lasseter’s return to the director’s chair came with the release of Cars. | 约翰·拉塞特重返导演职位 拍出了《汽车总动员》 |
| [1:21:22] | A film inspired by | 这部电影的灵感来自 |
| [1:21:23] | a cross-country road trip he took with his family in 1999. | 1999年 他带着家人驾车横越全国的公路之旅 |
| [1:21:27] | Hi, this is great. Blue Ridge Parkway. | 这里很棒 蓝色山脊公园到 |
| [1:21:34] | Set in a bygone town on Route 66, | 场景设定在66号公路上的过气小镇 |
| [1:21:38] | John’s personal love of cars and the racing world | 约翰个人对汽车和赛车世界的喜爱 |
| [1:21:41] | inspired a new level of beauty, speed and a heightened reality | 在电脑动画中变成了一个 |
| [1:21:45] | in computer animation. | 美丽 快速和刺激的新世界 |
| [1:21:52] | Cars became the seventh hit in a row for Pixar. | 《汽车总动员》成为皮克斯第七部连续大卖的作品 |
| [1:21:55] | And the new relationship with Disney was starting off on the right foot. | 和迪士尼的新关系也有了好的开始 |
| [1:21:59] | Ed and John now looked to the future with the challenge | 展望未来 爱德和约翰要面对的挑战 |
| [1:22:02] | of guiding two animation studios. | 是带领两个动画工作室 |
| [1:22:05] | And John, returning to his roots | 约翰还回到他的出身地 |
| [1:22:06] | to creatively oversee all of Disney’s theme parks and attractions. | 以创意监督所有迪士尼乐园和游乐设施 |
| [1:22:12] | This. . . This is just, it’s so beautiful. Flik up there. | 你看 这里实在是太漂亮了 |
| [1:22:17] | John’s a real big Disney fan. | 约翰真的是个迪士尼迷 |
| [1:22:18] | 黛安·迪士尼·米勒 沃尔特·迪士尼的女儿 | |
| [1:22:19] | I mean, he worked in the amusement parks, he grew up on Disney. | 因为他在乐园工作过 他是在迪士尼长大的 |
| [1:22:22] | Oh, look at. . . Look at this. This is amazing! | 看 你们看这个 实在很不可思议 |
| [1:22:27] | He’s thrilled to be on that lot | 在那里他很兴奋 |
| [1:22:29] | and kind of be able to go everywhere he wants to go, and see what’s there. | 而且随他想去哪里想看什么都有可以 |
| [1:22:33] | And bring things up from the past, explore. . . | 他能从过去挖出新东西来探索 |
| [1:22:36] | 1978, 27 years ago, | 1978年 27年前 |
| [1:22:38] | was the last time I skippered a Jungle Cruise. | 我最后一次操控丛林巡航 |
| [1:22:42] | And I want everybody as we go… | 现在要出发了 |
| [1:22:43] | His feelings are so good about it. | 我对他的感觉非常好 |
| [1:22:46] | You had such a remarkable man in Disney. | 在迪士尼曾经有过一个很了不起的人 |
| [1:22:47] | 乔·格兰特 《幻想曲》《小飞象》迪士尼 艺术家 作家 | |
| [1:22:50] | It was a great intuition that he had, | 他有非凡的直觉 |
| [1:22:53] | he seemed to know everything ahead of time. | 对事情的看法永远超前时代 |
| [1:22:56] | I find the same thing there with Lasseter. | 我发现拉塞特也有同样的特质 |
| [1:22:59] | He’s pretty much an image of Walt, I think. | 我认为他简直是沃尔特的翻版 |
| [1:23:06] | When planning a new picture, | 规划一部新电影时 |
| [1:23:08] | we don’t think of grown-ups, and we don’t think of children. | 我们不考虑成人 我们不考虑儿童 |
| [1:23:10] | But just of that fine, | 只想着我们每个人内心深处 |
| [1:23:12] | clean, unspoiled spot down deep in every one of us | 那个纯净未受污染的地方 |
| [1:23:16] | that maybe the world has made us forget, | 也许世俗让我们遗忘了它 |
| [1:23:17] | and that maybe our pictures can help recall. | 也许我们的电影能让人想起它 |
| [1:23:27] | Well, the future of Pixar to me | 对我来说 皮克斯的未来 |
| [1:23:29] | is going to be a continuing making these great films, | 就是跟越来越多有远见的导演合作 |
| [1:23:32] | with more and more visionary directors. | 继续制作伟大的电影 |
| [1:23:35] | And then give them creative ownership of what they do, | 让他们有权利发挥创意的潜力 |
| [1:23:37] | so they can be proud of it for the rest of their life. | 让他们能终生以它为荣 |
| [1:23:42] | There are so many young people today that want to be animators, | 今天 有那么多的年轻人想要成为动画师 |
| [1:23:46] | that are fascinated by animation, more than ever before. | 他们对动画的着迷程度远胜于过去 |
| [1:23:50] | So it’s a field that is inspiring and exciting. | 因此这是个令人振奋又刺激的领域 |
| [1:23:56] | There’s a real advantage being in a new medium. | 置身在新媒体中 这是一大优势 |
| [1:23:59] | We’re still setting ourselves up for things we’ve never done before. | 我们仍然全神贯注地在做以前从未做过的事 |
| [1:24:05] | I foel like I’m in Dumbo, I feel like I’m in Pinocchio. | 我觉得像在演小飞象 小木偶 |
| [1:24:09] | This is truly going to be timeless and forever | 这些电影将会永垂不朽 |
| [1:24:12] | and will always land in the consciousness | 即使在未来的世代 只要是爱看电影的人 |
| [1:24:14] | of yet another generation of moviegoers. | 都会对它们留下深刻的回忆 |
| [1:24:19] | Pixar’s seen by a lot of folks as an overnight success, | 很多人都认为皮克斯是一夜成名的公司 |
| [1:24:21] | but if you really look closely, | 但是仔细看 |
| [1:24:24] | most overnight successes took a long time. | 几乎每一家一夜成名的公司都花了很多时间 |