更新时间:2018-09-15
窒息几何 • 詹姆斯·卡梅隆的科幻故事:詹姆斯·卡梅隆的科幻故事 第2集笔记
第二集 外太空 OUTER SPACE
JAMES CAMERON: I've been thinking about this idea that space is anything we want it to be. It's the great unknown, and we can project our fantasies and our ideas, our sociology, and, you know, we can use it just as an excuse to get to a completely different culture, or we can take it at face-value as a problem we need to solve...
詹姆斯·卡梅隆：我一直在思考这句话——宇宙符合我们的一切幻想。它是巨大的未知空间， 我们可以在上面投射我们的幻想、我们的理念、我们的社会学，而且，我们可以借此机会构造一个完全不同的文化，或者我们可以简单地把它视作一个我们需要解决的问题。
GEORGE LUCAS: You got two things. No matter how you do it, whether it's "2001" or "Star Wars," they're adventures. The big bogeyman is the unknown. Because the thing about humans-it's always been with us-is we have an imagination......And man has curiosity. Curiosity and imagination bring you things like stories.
乔治·卢卡斯：有两种可能，不管你怎么拍——无论是《2001》还是《星球大战》——它们都是冒险，最吓人的，就是未知。因为人类的一个特性，我们一直以来都有的，就是想象……人类有好奇心，好奇心和想象力会带来故事
JAMES CAMERON: Isn't that what we try to do with our movies? Capture a little bit of that awe and bring it into a movie theater and feel what it might be like to go out there?
詹姆斯·卡梅隆：这不正是我们的电影想做的事吗？捕捉一点这种惊奇，将其带到电影院，然后想象探索宇宙可能会是什么样的。
1.《地心引力》 GRAVITY 2013
It is really fantastic the lengths that the early science-fiction writers went to to get a space craft from the Earth even to the moon.
早期科幻作家在创作从地球向月球发射航天器时所发挥的想象力简直不可思议。
-- SIDNEY PERKOWITZ
2.《月球旅行记》 A TRIP TO THE MOON 1902
Georges Méliès was originally a stage magician who got enamored with the brand-new art form of cinematography. And not only, did he invent the science-fiction movie, he essentially invented movie special effects.
乔治·梅里爱最开始是一位舞台魔术师迷恋上了电影艺术这个全新的艺术形式，他不仅发明了科幻电影，本质上是他发明了电影特效。
And it was really based on the two giants of science fiction at the time -- H.G.Wells and Jules Verne. Jules Verne provided the plot and story for the first half of the movie with his "From the Earth to the Moon." The second half was based on H.G.Wells' "The First Men in the Moon."
它实际上是基于当时科幻小说的两位巨匠——H.G.威尔斯和儒勒·凡尔纳的作品。儒勒·凡尔纳提供的情节和故事构成了电影的前半部分，来源是他的小说《地球到月球》，后半部分基于H.G.威尔斯的《月球上最早的人类》。
-- RON MILLER
3.《地球到月球》 From the Earth to the Moon - Jules Verne
4.《月球上最早的人类》 The First Men in the Moon - H.G.Wells
Early depictions of space travel show characters just moving about freely, opening up the door, and walking out into space with no trouble.
早期关于太空旅行的描述展现了角色们可以自如地移动、打开舱门，毫无困难地在太空里行走。
-- GRANT WYTHOFF
5.《火星之旅》 HIMMELSKIBET / A TRIP TO MARS 1918
As early as the 1920s, you have films like "Woman in the Moon" by Fritz Lang, where characters are strapped into their seats, and as the ship is taking off, they can feel the pressure of the g-force on their chests, struggling to breathe as they lift off.
早在二十世纪二十年代，有《月球上的女人》这样的电影，是弗里茨·朗拍摄的。角色们被绑在座位上，飞船起飞的时候，他们能感受到重力对他们胸腔的压力，升空时会呼吸困难。
-- GRANT WYTHOFF
6.《月里嫦娥》 WOMAN IN THE MOON 1929
And then you've got writers that worked for John W.Campbell Jr. when he began editing "Astounding Science Fiction," who were held to standard of scientific verisimilitude, and that's when you start getting realistic, believable space adventures.
然后又有一些作家为约翰·W·坎贝尔工作，在他开始编辑《惊人的科幻》杂志的时候，他坚持科学逼真性的标准，那个时候你就可以看到真实的、可信的太空历险了。
-- GARY K.WOLFE
7.《惊人的科幻》 Astounding Science Fiction
8.《登陆月球》 DESTINATION MOON 1950
Robert Heinlein was the gurn of hard science-fiction, but I think, before that and beyond that, he was the gurn of logical science-fiction. Heinlein asked the question -- which is the classic hard science-fiction question -- How do you do it? How do you solve that problem?
罗伯特·海因莱因曾是硬科幻小说大师，但我认为除此之外更重要的是，他是逻辑科幻小说的大师。海因莱因提出了一个问题——正是硬科幻的一个经典疑题——怎样才能做到？怎样才能解决那个问题？
Even today, that's a key theme in science fiction.
直至今日，这仍是科幻小说的一个关键问题。
-- GARY K.WOLFE
9.《异乡异客》 Stranger in a Strange Land - ROBERT A.HEINLEIN
10.《地球上的绿色山丘》 The Green Hills of Earth - ROBERT A.HEINLEIN
So, here is a perfect limitation for an artist. You can't go faster than light speed. How are we gonna get around it to explore the universe? Science-fiction writers said, "Okay, well, we have to create a speed faster than light speed."
这里便是对一位艺术家的完美限制，你无法超越光速，我们又如何绕过它来探索宇宙呢？科幻小说的作者们说，“好吧，那么我就要造出一个比光速还快的速度。”
-- MATT SINGER
(Forbidden Planet) It's very easy to see many of the things that later science fiction, specifically "Star Trek," If not directly took from, was certainly inspired by.
从（《禁忌星球》）中可以看到许多之后的科幻片就算不是直接采用，也是深受启发的东西，尤其是《星际旅行》。
-- MATT SINGER
11.《禁忌星球》 FORBIDDEN PLANET 1956
12.《星际旅行》 STAR TREK 1966-1969
The importance of "Star Trek" is that it brought space into the living rooms of Americans and people really across the globe. It made space accessible.
《星际旅行》的重要性在于它将太空搬到了美国人以及全球人的起居室之中。太空不再遥不可及。
-- LISA YASZEK
So, you could deal with controversial issues, but they weren't controversial because they're distanced. They're not us. That's not our own society.
你可以应对有争议的话题，但他们并没有争议，因为他们非常遥远。他们不是我们，那不是我们的社会。
-- GARY K.WOLFE
We did wanna get into racial issues, sexist issues, that were going on at the time. And I think it opened a door into an alien world that people could say, "Oh, yeah, I get that." It offered lots of story opportunities to tell stories about things going on right here on Earth.
我们确实想要去探讨当时的种族问题、性别歧视问题，同时我认为它开启了外星世界的一扇门，人们会说：“噢， 我懂。”它提供了很多说故事的机会来讲述地球上正在发生的故事。
-- D.C.FONTANA (《星际旅行》系列，编剧)
The most powerful message, to me, of "Star Trek" was just the idea that, by stepping out into the universe, we put our old problems behind us and we become better people through cooperation and you know, believing in a certain set of values. It 's a very romantic notion, it's very idealistic notion, but that's a universe I wanna go live in. I wanna go get on a starship, I wanna be part of the Federation.
对我而言，《星际旅行》最有力的理念是：通过迈向宇宙，我们抛下了过去的困扰，通过合作变成了更优秀的人，并且坚持着某种价值观。这是个非常浪漫的念头，也是个非常理想主义的念头，但那时我想要生活的世界。我想要登上一艘星舰，我希望成为星际联邦的一员。
-- RONALD D.MOORE (《星际旅行》系列 制作人/编剧)
"2001," As far as I'm concerned, is the best science-fiction film ever made. It is the quintessential what space travel is. And it looks great. You know, it's impeccable the way they put it together.
据我所知，《2001》是有史以来最好的科幻影片。它是太空旅行的精髓，而且它视觉效果经验，他们拍摄得简直无可挑剔。
-- GEORGE LUCAS
That's absolutely the most meticulously accurate science-fiction movie between Arthur C.Clarke, the hard science-fiction writer, and Stanley Kubrick, the visionary filmmaker, who thought his image was all you need.
这绝对是最严谨的科幻影片，由硬科幻作家亚瑟·查理斯·克拉克和认为画面就是一切的有远见的电影人斯坦利·库布里克联合制作。
-- GARY K.WOLFE
13.《2001太空漫游》 2001: A SPACE ODYSSEY 1968
But it's really not the filmmaking part of it. It's the "Let's go into outer space" part of it. And we have the reality now to deal with it...but we have to get people to say, "This is a fun adventure."
但重要的其实不是制作电影这部分，而是“我们去往外太空”的主题。而如今现实世界也能做到这种事了…但我们还得让人们觉得，“这次历险很有趣”。
-- GEORGE LUCAS
14.《星球大战》 STAR WARS 1977
15.《星球大战V 帝国反击战》 THE EMPIRE STRIKES BACK 1980
16.《星球大战VI 绝地归来》 RETURN OF THE JEDI 1983
"Star Wars" is a landmark film in the history of science-fiction stories about space because it opened up the excitement and the adventure of traveling from planet to planet and made us all want to go there with the heroes.
在太空科幻电影的历史上，《星球大战》是一部里程碑式的电影，因为它开辟了星际旅行的冒险之旅与激动人心之处，使得我们都想随着主角们一起旅行。
-- LISA YASZEK
JAMES CAMERON: As much as "Star Wars" seemed to just leap from your forehead...fully formed...
詹姆斯·卡梅隆：《星球大战》似乎是你靠脑子凭空想象出来的…
GEORGE LUCAS: NO. Nothing in this world pops into your head fully formed.
乔治·卢卡斯：不是，这世界上没有什么能凭想象就十分完善。
17.《飞侠哥顿》 FLASH GORDON 1936
18.《战国英豪》 THE HIDDEN FORTRESS 1958
19.《搜索者》 THE SEARCHERS 1956
The transition from the science-fiction space travel of the '60s to the '70s it probably reflects a wider shift in culture at that time, the sort of general cynicism of the '70s has kind of infected this vision of the future and it's like, "Okay, if we get into outer space, probably giant corporations are still gonna be running everything."
科幻太空旅行从六十年代到七十年代的转变，可能反映着当时更广泛的文化转变。七十年代普遍的愤世嫉俗论，感染着对未来的愿景，好像说“好吧，即使我们进入了外太空，那些超级大公司可能仍然会操控一切事物。”
-- MATT SINGER
And it's, I think, no accident that, in a lot of these films, it's the military-industrial complex that are the real monster in space.
我认为，很多这类电影中，出现这样的情况并非偶然，即宇宙中真正的怪物，正是军事工业复合体。
-- SIGOURNEY WEAVER
20.《九霄云外》 OUTLAND 1981
From the moment that humans set off to lands that they'd never been to before, immediately what follows that is you see all of the normal human problems that we have in societies transposed to other worlds.
自从人类踏上他们之前从未涉足的土地的那一刻起，紧随其后发生的就是你可以看见人类社会中所有的寻常问题都被转移到了其他世界中。
-- ADAM RUTHERFORD
At some point, corporations are going to have to get involved. At some point, maybe the government will have to take over, and lead to something like a militarized society like "Starship Troopers."
某个时间点，公司会不得不被牵涉进来。其他时候，也许政府也不得不接手，并且导致一个军事化社会的形成，就像《星河舰队》。
-- GARY K.WOLFE
21.《星河舰队》 STARSHIP TROOPERS 1997
改编自小说：
22.《星船伞兵》 Starship Troopers - Robert Anson Heinlein
"Starship Troopers" is an important science-fiction movie because it's one of the few movies that warns us that humans may bring the worst of themselves into space rather than the best of themselves.
《星河舰队》是一部很重要的科幻电影，因为它是为数不多的几部能向我们发出警告的电影，人类可能会把人性中最恶劣的部分而非最美好的部分带到宇宙中。
-- LISA YASZEK
We really tried to bring in a level of criticism about what these people are doing, especially in the newsreels, continuously telling to the audience, "You like these people. These are your heroes and heroines. By the way, they're probably fascist."
我们努力想对电影中人们的所作所为提出某种层面的批判，特别是在新闻短片中不断告诉观众“你喜欢这些人，他们是你的英雄，顺便说一下，他们可能是法西斯主义者。”
-- PAUL VERHOEVEN (《星河舰队》导演)
The story of humankind is exploration is followed by colonialization and exploitation, so we've always done this.
人类的故事是探索，随后是殖民和剥削，我们一直这样做。
-- ADAM RUTHERFORD
My parents thought that television -- and this is back in the early '50s...was the worst influence, so they prevented me from watching television.
早在五十年代初，我的父母认为电视影响很不好，所以他们不让我看电视。
I couldn't watch television, I would just dream up something for myself to enjoy. And that's what kids do when they're exercising their natural ability to create worlds that don't exist.
我不能看电视，就只好幻想一些东西来自娱自乐。这正是孩子们发挥自己与生俱来能力的表现，在幻想中创造不存在的世界。
It always had to do with a pencil and a piece of paper and, of course, later, the 8-millimeter movie camera.
它总是从一根铅笔，一张纸开始，当然，到后来用八毫米电影摄影机来实现。
When I sit down to storyboard, I come up with my best ideas in the process of making my sketches. I mean, ideas that weren't even in the script and weren't even in my imagination will come out as I'm actually drawing.
当我坐在故事板前，打草稿的过程中我会想出我最好的点子。那些点子甚至不在脚本中，甚至不在我的想象中，而是在我实际绘制时出现的。
-- STEVEN SPIELBERG
The science-fiction artists are often overlooked in the history of science fiction.
在科幻史上，科幻艺术家往往被忽视。
But artists have influenced authors in their own right because they're bringing their ideas and characters to life visually.
但艺术家本身对作家产生了影响，因为他们从视觉上将作家的想法和角色赋予生命力。
-- RON MILLER
With world-building, you are creating a society from scratch, a planet from scratch, a people from scratch. They may not look like people like you or me, but they are people.
在世界建构中，你从零开始创造一个社会，一颗行星，一个种族。他们可能看上去不像你和我，但是他们也是人。
-- N.K.JEMISIN
23.《沙丘》 DUNE 1984
24.《阿凡达》 AVATAR 2009
25.《第五元素》 THE FIFTH ELEMENT 1997
It's the white page that you can write everyhing. You can make everything beautiful again in space.
就像是一张你可以在上面写任何东西的白纸。在宇宙里，你可以把一切变得美丽。
26.《银河护卫队》 GUARDIANS OF THE GALAXY 2014
In "The Martian," what you see is a smart person actually acting smart. Using his brain to solve problems, instead of a lightsaber or a ray gun.
在《火星救援》中，你可以看到一个聪明人做着聪明事。用他的智慧会解决问题，而不是用光剑或激光枪。
-- MATT SINGER
One of the other great things that Andy Weir's "The Martian" does is make the experience seem like an everyday experience, almost.
安迪·威尔在《火星救援》中，做得很好的一点是他将这段经历几乎塑造成日常的经历。
He doesn't power through problems without hitting a hitch. He hits every single hitch there is. And you get to see him work through them, and you find yourself thinking, "I could do that."
他在解决困难时并不是没有失误，而是几乎每一步都有失误。你可以看到他是怎么解决这些困难的，然后你会想，我也能做到。
So, it's inspirational, but it's also just very practical.
这是非常励志的故事，也是非常真实的。
-- SHEYNA GIFFORD
27.《火星救援》 The Martian - Andy Weir
28.《火星救援》 THE MARTIAN 2015
Basically, his solution to this immediate problem leads to the next problem and the next and the next and so on.
基本上，他在解决面前麻烦的同时总是会导致另一个麻烦和接连不断的麻烦。
I would say that the problem-solving style of Arthur Clarke and also Robert Heinlein influenced how I wrote "The Martian," although I would say one of the biggest influences on "The Martian" was Apollo 13, both the real event and the movie.
亚瑟·克拉克和罗伯特·海因莱因他们作品中关于问题解决的风格对我写的《火星救援》影响很大。虽然对我最大的影响之一是《阿波罗13号》，它的真实事件和影片都对我影响很大。
-- ANDY WEIR (《火星救援》作者)
29.《阿波罗13号》 APOLLO 13 1995
I think the drive for the realism of "The Martian" is the fact that we will get to Mars quite soon, so suddenly it's come right back to our doorstep, that we now have the technology and are building the sophisticated means for getting to Mars and colonizing Mars. That's why "The Martian" is important and why it has that realism to it.
我认为《火星救援》中现实主义的动力基于这样一个事实，即人类很快就要登上火星。突然间，这部电影就出现了。我们现在拥有了技术，也在打造尖端先进的工具以登上火星，殖民火星。这正是《火星救援》的重要之处，也是其现实主义的体现。
-- ADAM RUTHERFORD
詹姆斯·卡梅隆的科幻故事Story of Science Fiction(2018)
又名：詹姆斯·卡梅隆聊科幻小说的故事 / 詹姆斯·卡梅隆的科幻小说轶事 / James Cameron's Story of Science Fiction
主演：詹姆斯·卡梅隆 James Cameron/雷德利·斯科特 Ridley Scott/史蒂文·斯皮尔伯格 Steven Spielberg/彼得·卡帕尔迪 Peter Capaldi/乔治·卢卡斯 George Lucas/吉尔莫·德尔·托罗 Guillermo del Toro/爱德华·诺麦尔 Edward Neumeier/克里斯托弗·诺兰 Christopher Nolan/基努·里维斯 Keanu Reeves/保罗·范霍文 Paul Verhoeven/鲍勃·巴拉班 Bob Balaban/吕克·贝松 Luc Besson/玛德琳·布鲁尔 Madeline Brewer/马克斯·布鲁克斯 Max Brooks/凯尔·杜拉 Keir Dullea/约翰·戴克斯特拉 John Dykstra/加里斯·爱德华斯 Gareth Edwards/乌比·戈德堡 Whoopi Goldberg/杰夫·高布伦 Jeff Goldblum/阿齐瓦·高斯曼 Akiva Goldsman/约瑟夫·高登-莱维特 Joseph Gordon-Levitt/詹姆斯·古恩 James Gunn/乔什·哈切森 Josh Hutcherson/罗伯特·柯克曼 Robert Kirkman/弗朗西斯·劳伦斯 Francis Lawrence/肖恩·列侬 Sean Lennon/约翰·利思戈 John Lithgow/克里斯托弗·洛伊德 Christopher Lloyd/布鲁斯·米勒 Bruce Miller/罗纳德·D·摩尔 Ronald D. Moore/格里高利·尼克特洛 Gregory Nicotero/盖瑞·罗斯 Gary Ross/维罗尼卡·罗斯 Veronica Roth/佐伊·索尔达娜 Zoe Saldana/阿诺·施瓦辛格 Arnold Schwarzenegger/威尔·史密斯 Will Smith/特丽·塔歇尔 Terri Tatchell/西格妮·韦弗 Sigourney Weaver/特德·姜 Ted Chiang/刘宇昆 Ken Liu/米拉·乔沃维奇 Milla Jovovich
导演：
