A tourist is backpacking through the highlands of Scotland, and he stops at a pub to get a drink. And the only people in there is a bartender and an old man nursing a beer. And he orders a pint, and they sit in silence for a while. And suddenly the old man turns to him and goes, "You see this bar? I built this bar with my bare hands from the finest wood in the county. Gave it more love and care than my own child. But do they call me MacGregor the bar builder? No." Points out the window. "You see that stone wall out there? I built that stone wall with my bare hands. Found every stone, placed them just so through the rain and the cold. But do they call me MacGregor the stone wall builder? No." Points out the window. "You see that pier on the lake out there? I built that pier with my bare hands. Drove the pilings against the tide of the sand, plank by plank. But do they call me MacGregor the pier builder? No. But you fuck one goat ... "
一个背包客徒步 穿过苏格兰高地 他进了一个酒馆准备喝一杯 酒馆里面只有一位侍者 和一个揣着啤酒暗自神伤的老人 他要了一品托酒,然后和大家各自安静喝着酒 突然,老人朝着他走过来 “看见这间酒吧了没有? 我就凭着这双手,用郡里 最好的木材建造了它 对它的关爱甚至超过了对自己的孩子 但是他们称我酒吧建筑师麦格雷戈了吗?并没有。” 又指着窗户说 “你看见那边的石头墙了吗? 我就凭这双手砌了这面墙 亲手挑选每一块石头,不论下雨还是严寒把它们堆砌起来 但是他们称我为石墙建筑师麦格雷戈了吗?也没有。” 指着另一边的窗口 “你看见那边湖上的码头了吗? 我就凭这双手造了那个码头 一块一块载着木桩,划过沙地,风雨无阻 他们称我码头建筑师麦格雷戈了吗?没有。 但倘若你上了一头山羊…”(即goatfucker,美国俚语,指一个尽管做了很多好事,但由于一件坏事得到了坏名声的人.)
(Laughter)
(笑声)
Storytelling -- (Laughter) is joke telling. It's knowing your punchline, your ending, knowing that everything you're saying, from the first sentence to the last, is leading to a singular goal, and ideally confirming some truth that deepens our understandings of who we are as human beings. We all love stories. We're born for them. Stories affirm who we are. We all want affirmations that our lives have meaning. And nothing does a greater affirmation than when we connect through stories. It can cross the barriers of time, past, present and future, and allow us to experience the similarities between ourselves and through others, real and imagined.
讲故事- (笑声) 就像讲笑话 要明确点睛之笔 也就是结局 要明确,你所说的一切,从第一句到最后一句 都引导着一个唯一的目标 同时完美证实一些事实 即加深我们对于 我们为何而存在 我们都爱故事 与生俱来 故事决定了我们是谁 我们都想得到那样的肯定,即我们的生命是有意义的 当我们通过故事联系到一起的时候 没什么比这个更好了 它可以跨越时间的障碍 过去,现在和未来 允许我们去体验 我们自己和其他人,真实与虚幻之间 的各种相似点
The children's television host Mr. Rogers always carried in his wallet a quote from a social worker that said, "Frankly, there isn't anyone you couldn't learn to love once you've heard their story." And the way I like to interpret that is probably the greatest story commandment, which is "Make me care" -- please, emotionally, intellectually, aesthetically, just make me care. We all know what it's like to not care. You've gone through hundreds of TV channels, just switching channel after channel, and then suddenly you actually stop on one. It's already halfway over, but something's caught you and you're drawn in and you care. That's not by chance, that's by design.
儿童电视节目主持人罗杰斯先生 总是在他的皮夹中放着 一位社会工作者的箴言 “坦白的说,任何人都值得去爱, 一旦你听过了他们的故事” 就我自己更想表达的方式 这也许是最有力的讲故事的诫言 “让我在乎”—— 从情感上 理性上,美学的角度上 令我牵挂 我们都清楚,什么是毫不在乎 你看过数以百计的电视节目 在台与台之间不停切换着 突然你会停在某个台上 它已经播到了一半 即便如此,你被某些东西吸引住了,而且你在乎这东西 这并不是偶然的 而是设计好的
So it got me thinking, what if I told you my history was story, how I was born for it, how I learned along the way this subject matter? And to make it more interesting, we'll start from the ending and we'll go to the beginning. And so if I were going to give you the ending of this story, it would go something like this: And that's what ultimately led me to speaking to you here at TED about story.
于是,这就让我思考,如果我告诉你我的人生是个故事 我是如何为其而生的 我是如何沿着这个主题的方式学习的 然后让它变得更有趣的 我们从结尾讲起 然后回溯到开始 如果我把故事的结尾告诉你 就会出现这样的情况: “这东西就是基本上启发我 今天在TED上给你们讲的 关于故事的演讲。”
And the most current story lesson that I've had was completing the film I've just done this year in 2012. The film is "John Carter." It's based on a book called "The Princess of Mars," which was written by Edgar Rice Burroughs. And Edgar Rice Burroughs actually put himself as a character inside this movie, and as the narrator. And he's summoned by his rich uncle, John Carter, to his mansion with a telegram saying, "See me at once." But once he gets there, he's found out that his uncle has mysteriously passed away and been entombed in a mausoleum on the property.
我最近的一个关于讲故事的课程 是关于一部我刚在2012年 完成的电影 叫做“异星战场:约翰·卡特传奇”,改编自“火星公主”这本书 其作者是埃德加·赖斯·巴勒斯 同时埃德加·赖斯·巴勒斯自己 也参与到了这部电影中,出任旁白 他收到他富有的叔叔约翰·卡特的电报,要他马上到 他的豪宅里会面,电报写着 “欲见从速” 当他到了那里 却发现他的叔叔却离奇死亡了 而且已经被埋葬在墓地里
(Video) Butler: You won't find a keyhole. Thing only opens from the inside. He insisted, no embalming, no open coffin, no funeral. You don't acquire the kind of wealth your uncle commanded by being like the rest of us, huh? Come, let's go inside.
(视频)巴特勒:你不可能找到钥匙孔 这东西只能从里面打开 他坚持 没有防腐剂,没有打开的棺材 没有葬礼 我们其他人就是无法理解 你叔叔有着这般财富的人的想法,是吧 好了,我们回去吧
AS: What this scene is doing, and it did in the book, is it's fundamentally making a promise. It's making a promise to you that this story will lead somewhere that's worth your time. And that's what all good stories should do at the beginning, is they should give you a promise. You could do it an infinite amount of ways. Sometimes it's as simple as "Once upon a time ... " These Carter books always had Edgar Rice Burroughs as a narrator in it. And I always thought it was such a fantastic device. It's like a guy inviting you around the campfire, or somebody in a bar saying, "Here, let me tell you a story. It didn't happen to me, it happened to somebody else, but it's going to be worth your time." A well told promise is like a pebble being pulled back in a slingshot and propels you forward through the story to the end.
这个场景在做的,也就是书里已经告诉我们的 这实际上是在许下一个承诺 向大家作出承诺 这个故事的走向将对得起您的时间 同时这是所有好的故事都应该在最开始做的,他们应该给观众们一个承诺 应该用各种方式完成这个承诺 有的时候,也就是“从前有一个…”这么简单 这些关于主人公卡特的书总是有作者巴勒斯的旁白 我一向认为这是一个极其巧妙的技巧 这就好像有人邀请你到篝火旁 或者某个酒吧里的人对你说,“来,让我给你讲个故事 这不是我的亲身经历,但真实的发生在别人的身上 而且绝不浪费你的时间” 一个完美的口述许诺 就好像弹弓的上的鹅卵石弹出的曲线 不断地激起你的兴趣 由始至终
In 2008, I pushed all the theories that I had on story at the time to the limits of my understanding on this project.
在2008年, 我把所有在当时我知道的关于故事的理论和理解 发挥到了极限并运用到了这个项目上
(Video) (Mechanical Sounds) ♫ And that is all ♫ ♫ that love's about ♫ ♫ And we'll recall ♫ ♫ when time runs out ♫ ♫ That it only ♫ (Laughter)
(视频)机械的声音 ♫ 这就是 ♫ ♫ 爱情的诠释 ♫ ♫我们将会回忆起 ♫ ♫ 在年华逝去时♫ ♫ 这是唯一的 ♫ (笑声)
AS: Storytelling without dialogue. It's the purest form of cinematic storytelling. It's the most inclusive approach you can take. It confirmed something I really had a hunch on, is that the audience actually wants to work for their meal. They just don't want to know that they're doing that. That's your job as a storyteller, is to hide the fact that you're making them work for their meal. We're born problem solvers. We're compelled to deduce and to deduct, because that's what we do in real life. It's this well-organized absence of information that draws us in. There's a reason that we're all attracted to an infant or a puppy. It's not just that they're damn cute; it's because they can't completely express what they're thinking and what their intentions are. And it's like a magnet. We can't stop ourselves from wanting to complete the sentence and fill it in.
没有对话的叙事 是电影中最单纯的讲故事的方式 是你能采取的最包容的方式 它证明了某个我非常在乎的直觉 那就是观众们 其实更喜欢自己烹饪他们的饕餮盛宴 只不过他们不想知道自己亲自动手了 这就是讲故事的人的任务 隐瞒这些事实 你实际上在让他们亲自为他们的盛宴下厨 我们生来就是个问题解决者 我们总忍不住反复去推想 去演绎 因为这就是我们在现实生活中所做的事情 正是这个设计好的信息缺漏 吸引了我们的注意力 这就是为什么我们总是被婴儿或者小狗吸引住 不是因为他们太可爱 而是因为他们完全无法表达 自己在想什么和他们的目的是什么 像吸铁石一样吸引我们 我们无法克制自己 去想方设法的把这些空白填满
I first started really understanding this storytelling device when I was writing with Bob Peterson on "Finding Nemo." And we would call this the unifying theory of two plus two. Make the audience put things together. Don't give them four, give them two plus two. The elements you provide and the order you place them in is crucial to whether you succeed or fail at engaging the audience. Editors and screenwriters have known this all along. It's the invisible application that holds our attention to story. I don't mean to make it sound like this is an actual exact science, it's not. That's what's so special about stories, they're not a widget, they aren't exact. Stories are inevitable, if they're good, but they're not predictable.
我第一次开始 确切的理解这个讲故事的技巧 是我在和鲍勃·彼德森一起写“海底总动员”的时候 我们称之为“2+2的统一定理” 让观众自己把东西拼起来 不要给他们一个4 而给他们2+2 你们提供的元素和其排列顺序 对决定你是否成功的与观众互动是至关重要的 编辑和剧作家都默契的知道 正是这无形中的运用 牢牢抓住了我们的对故事的注意力 我的意思不是把它实施得很确切 好像门精确的科学研究一样,不是的。 这就是为什么故事是如此的独特 他们不是零固件,他们不要求精密准确。 故事总是存在的,如果他们很赞 但不见得可以预知
I took a seminar in this year with an acting teacher named Judith Weston. And I learned a key insight to character. She believed that all well-drawn characters have a spine. And the idea is that the character has an inner motor, a dominant, unconscious goal that they're striving for, an itch that they can't scratch. She gave a wonderful example of Michael Corleone, Al Pacino's character in "The Godfather," and that probably his spine was to please his father. And it's something that always drove all his choices. Even after his father died, he was still trying to scratch that itch. I took to this like a duck to water. Wall-E's was to find the beauty. Marlin's, the father in "Finding Nemo," was to prevent harm. And Woody's was to do what was best for his child. And these spines don't always drive you to make the best choices. Sometimes you can make some horrible choices with them.
我今年曾上过一个研讨会 和一个叫朱迪·韦斯顿的表演课老师 从中我学到了一个关于人物角色的关键点 她相信所有的成功的的人物角色描写 都有一个支撑骨 这个想法是说每个人物都有一个内驱动力 有一个不断追逐的占主导位置却无法察觉的目标 和一个怎么也抓不到的痒处 她给我们举了一个关于迈克·柯里昂 阿尔·帕西诺在“教父”里的角色 他的支撑骨大概就是 取悦自己的父亲 这也是驱使他做出各种决定的原因 即时在他的父亲去世以后 他仍然想要挠到那块心痒点 这对我来说如鱼得水 Wall-E想要找到它心目中的美 马林,海底总动员里的父亲 想要保护自己的儿子 (玩具总动员)胡迪则是做对它的孩子正确的事情 这些支撑骨并不总带领你做出最正确的选择 有时候你可能会犯下严重的错误
I'm really blessed to be a parent, and watching my children grow, I really firmly believe that you're born with a temperament and you're wired a certain way, and you don't have any say about it, and there's no changing it. All you can do is learn to recognize it and own it. And some of us are born with temperaments that are positive, some are negative. But a major threshold is passed when you mature enough to acknowledge what drives you and to take the wheel and steer it. As parents, you're always learning who your children are. They're learning who they are. And you're still learning who you are. So we're all learning all the time. And that's why change is fundamental in story. If things go static, stories die, because life is never static.
我很幸运能作为一个父母 看着自己的孩子成长,我也很坚信 每个人都有某种与生俱来的气质和某些特定的行为 你也说不出为什么会这样 你也无法改变它 我们需要做的就是发现它 并拥有它 有的人的个性天生是积极地 有的人是消极的 一旦跨过了这主要的坎 当你足够成熟的时候 能够意识到是什么在驱使你的时候 应该抓过方向盘,勇敢前进 作为父母,你总在不断认知你的孩子是怎么样的 他们自己的也在认识自己 而你自己也在仍在不断地了解你自己 所以我们总是在不断地在学习和了解的过程中的 这也是为什么变化是故事的基本 如果东西变得静止了,故事也就结束了 因为人生永远是动态而变化的
In 1998, I had finished writing "Toy Story" and "A Bug's Life" and I was completely hooked on screenwriting. So I wanted to become much better at it and learn anything I could. So I researched everything I possibly could. And I finally came across this fantastic quote by a British playwright, William Archer: "Drama is anticipation mingled with uncertainty." It's an incredibly insightful definition.
1998年的时候 我刚写完“玩具总动员”和“虫虫危机” 我被剧本创作深深地吸引住了 我想要成为更好,去学习任何我能获得的东西 所以我翻遍了所有我能找到的资料 直到有一天我遇到这个精彩的句子 来自一位英国剧作家,威廉·阿彻 “戏剧是夹杂着不确定性 的期待 这是一个非常有深度的解释
When you're telling a story, have you constructed anticipation? In the short-term, have you made me want to know what will happen next? But more importantly, have you made me want to know how it will all conclude in the long-term? Have you constructed honest conflicts with truth that creates doubt in what the outcome might be? An example would be in "Finding Nemo," in the short tension, you were always worried, would Dory's short-term memory make her forget whatever she was being told by Marlin. But under that was this global tension of will we ever find Nemo in this huge, vast ocean?
当你在讲故事的时候 你有想过制造悬念么 你有想过让我在短时间里就想要知道 接下来什么会发生么 更重要的的是 即便在一段时间后,你有让我想要 猜测整个结局会是什么的冲动么 你有将矛盾冲突和事实结合 制造出重重疑团 甚至影响最后的结果么 举一个在“海底总动员”里的例子 在一段时间内,你总在担心 多瑞的短时间记忆 会不会让她忘记马文要她做的事情 但整个故事的悬念就是 我们到底能不能找到尼莫 在这个一望无际的大海里
In our earliest days at Pixar, before we truly understood the invisible workings of story, we were simply a group of guys just going on our gut, going on our instincts. And it's interesting to see how that led us places that were actually pretty good. You've got to remember that in this time of year, 1993, what was considered a successful animated picture was "The Little Mermaid," "Beauty and the Beast," "Aladdin," "Lion King." So when we pitched "Toy Story" to Tom Hanks for the first time, he walked in and he said, "You don't want me to sing, do you?" And I thought that epitomized perfectly what everybody thought animation had to be at the time. But we really wanted to prove that you could tell stories completely different in animation.
早期在皮克斯 在我们真正了解到什么是故事的精髓之前 我们就是一群做事只会凭胆子、凭直觉的家伙 这倒也挺有趣 它给我们带来的东西 其实还挺不错的 不得不提在那时候 1993年 正是动画的鼎盛时期 比如“小美人鱼”,“美女与野兽” “阿拉丁”,“狮子王” 所以当我们挑选汤姆·汉克斯为“玩具总动员”配音的时候 他走进来然后说 “你该不会是想要我唱歌吧,是吗” 我想这简短的说明了 那时候的大家认为动画都是怎样的 但我们那时候想要证明 在动画里,你可以用完全不同的方式来讲故事
We didn't have any influence then, so we had a little secret list of rules that we kept to ourselves. And they were: No songs, no "I want" moment, no happy village, no love story. And the irony is that, in the first year, our story was not working at all and Disney was panicking. So they privately got advice from a famous lyricist, who I won't name, and he faxed them some suggestions. And we got a hold of that fax. And the fax said, there should be songs, there should be an "I want" song, there should be a happy village song, there should be a love story and there should be a villain. And thank goodness we were just too young, rebellious and contrarian at the time. That just gave us more determination to prove that you could build a better story. And a year after that, we did conquer it. And it just went to prove that storytelling has guidelines, not hard, fast rules.
当时候我们没什么影响力 所以我们有一份自己的 神秘的小规则 它们有:不唱歌 没有“我想要”片段 没有快乐的小镇 没有爱情故事 最有讽刺意义的是,在我们的第一年 我们的故事没有任何进展 迪士尼就开始慌虑了 私下里他们从一个著名的词作家 得到了些建议,名字我就不在这里提了 他给迪士尼传真了一些建议 当我们拿到那张纸的时候 上面写着 应该要有唱歌 应该要有个“我想要”的歌曲 要有个关于快乐小镇的歌曲 还得有个爱情故事 和一个反派角色 幸好,当时的我们 年轻气旺、叛逆、与众不同 这些让我们更加决心 去证明我们可以编出更好的故事 一年以后,我们做到了 这也证明了 讲故事是有指导方法的 不难但也不见效快的规则
Another fundamental thing we learned was about liking your main character. And we had naively thought, well Woody in "Toy Story" has to become selfless at the end, so you've got to start from someplace. So let's make him selfish. And this is what you get.
我们学到的另一个重要的东西 就是学会喜欢你的人物特点 我们总天真的以为 “玩具总动员”里的胡迪至始至终都要是个自私的角色 所以你得从某个点开始来展示 于是我们做出了这个
(Voice Over) Woody: What do you think you're doing? Off the bed. Hey, off the bed! Mr. Potato Head: You going to make us, Woody? Woody: No, he is. Slinky? Slink ... Slinky! Get up here and do your job. Are you deaf? I said, take care of them. Slinky: I'm sorry, Woody, but I have to agree with them. I don't think what you did was right. Woody: What? Am I hearing correctly? You don't think I was right? Who said your job was to think, Spring Wiener?
(配音)胡迪:你这是在干什么? 离开这个床 嘿,下去! 蛋头先生:你想要惹我们吗,胡迪? 胡迪:不,他才是。 弹簧狗?弹……簧狗! 快上来把事做好 你耳聋了吗? 我说,注意好他们。 弹簧狗:我很抱歉,胡迪。 但我同意他们意见 我不认为你所做的是正确的 胡迪:什么?我没有听错吧? 你不认为我是正确的? 谁说你可以考虑的?弹簧香肠?
AS: So how do you make a selfish character likable? We realized, you can make him kind, generous, funny, considerate, as long as one condition is met for him, is that he stays the top toy. And that's what it really is, is that we all live life conditionally. We're all willing to play by the rules and follow things along, as long as certain conditions are met. After that, all bets are off. And before I'd even decided to make storytelling my career, I can now see key things that happened in my youth that really sort of opened my eyes to certain things about story.
所以,我们怎么让一个自私的角色变得讨人喜欢? 我们意识到,你也可以他变得善良起来 慷慨的、风趣的、贴心的 只要一个条件满足了 那就是让他做最受宠爱的玩具 而现实也是如此 我们过着有条件的生活 我们心甘情愿的遵循规则 只要某些条件符合了 在这之后,没什么好纠结的 在我决定要将讲故事作为我的职业的之前 我无法理解那些发生在我青年时的关键事件 那些真正开放我的眼界 对于故事的一些事情
In 1986, I truly understood the notion of story having a theme. And that was the year that they restored and re-released "Lawrence of Arabia." And I saw that thing seven times in one month. I couldn't get enough of it. I could just tell there was a grand design under it -- in every shot, every scene, every line. Yet, on the surface it just seemed to be depicting his historical lineage of what went on. Yet, there was something more being said. What exactly was it? And it wasn't until, on one of my later viewings, that the veil was lifted and it was in a scene where he's walked across the Sinai Desert and he's reached the Suez Canal, and I suddenly got it.
在1986年的时候,我理解到 故事总是有一个主题的 而正是那一年,电影“阿拉伯的劳伦斯” 重新上映 我把那部片子在一个月里看了七次 怎么看都不够 我可以分辨出这里面有精心设计的内容—— 每个镜头、每个场景、每句台词 但是,从表面上来看 故事好像只是在讲述他古老的血统 和之后发生的事情 不过,有些东西还是被提到了。到底是什么呢? 直到我最近几次观看,我才发现它 这块神秘面纱才被揭露 这个场景里,他在穿越西奈沙漠 这时他到达了苏伊士运河 然后我一下子就顿悟了
(Video) Boy: Hey! Hey! Hey! Hey! Cyclist: Who are you? Who are you?
(视频)男孩:嗨!嗨!嗨!嗨! 骑行者:你们是谁? 你们是谁?
AS: That was the theme: Who are you? Here were all these seemingly disparate events and dialogues that just were chronologically telling the history of him, but underneath it was a constant, a guideline, a road map. Everything Lawrence did in that movie was an attempt for him to figure out where his place was in the world. A strong theme is always running through a well-told story.
这就是故事的主题:你们是谁? 看上去这些零散的 事件和对话 好像只是按历史顺序在叙述他的故事 然而深层次里有一个坚持的 指南方向,一个旅行地图 每一件劳伦斯在电影里所做的事情 都是在帮助他搞明白他自己是在世界上的哪个地方 一个强烈的主题总是贯穿于 一个动听的故事
When I was five, I was introduced to possibly the most major ingredient that I feel a story should have, but is rarely invoked. And this is what my mother took me to when I was five.
在我五岁的时候, 我被告知什么是讲故事 我觉得的最主要的元素 但这很少被提到 这是我在五岁的时候妈妈带我去看的东西
(Video) Thumper: Come on. It's all right. Look. The water's stiff. Bambi: Yippee! Thumper: Some fun, huh, Bambi? Come on. Get up. Like this. Ha ha. No, no, no.
(视频)小兔桑普:来,没事的。 看 这河水很牢固 小鹿斑比:呀! 小兔桑普:挺好玩的, 是吧,斑比? 快来,站起来 像这样 哈哈,不不不
AS: I walked out of there wide-eyed with wonder. And that's what I think the magic ingredient is, the secret sauce, is can you invoke wonder. Wonder is honest, it's completely innocent. It can't be artificially evoked. For me, there's no greater ability than the gift of another human being giving you that feeling -- to hold them still just for a brief moment in their day and have them surrender to wonder. When it's tapped, the affirmation of being alive, it reaches you almost to a cellular level. And when an artist does that to another artist, it's like you're compelled to pass it on. It's like a dormant command that suddenly is activated in you, like a call to Devil's Tower. Do unto others what's been done to you. The best stories infuse wonder.
当我走出影院时 睁大的眼睛里充满了疑问 这就是我认为的神奇配方 这个神秘配料 就是激起你惊疑 惊疑代表着诚实,它是绝对的天真无邪 这是无法人为的制造出来的 对我来说,没有什么比 拥有一个来自别人给你带来的一种感觉-- 那个让人在某一天的短暂的时刻里 屈服于惊疑 当它出现的时候,灵动了起来 这就好像一个循环系统一样 当一个艺术家对另一个艺术家表现的时候 你不得不传递下去 就像是一个潜在的命令般 突然间激活了你,就像恶魔塔的召唤一样 别人怎么对你你就怎么对他们 好故事总是伴随着惊疑
When I was four years old, I have a vivid memory of finding two pinpoint scars on my ankle and asking my dad what they were. And he said I had a matching pair like that on my head, but I couldn't see them because of my hair. And he explained that when I was born, I was born premature, that I came out much too early, and I wasn't fully baked; I was very, very sick. And when the doctor took a look at this yellow kid with black teeth, he looked straight at my mom and said, "He's not going to live." And I was in the hospital for months. And many blood transfusions later, I lived, and that made me special.
在我四岁的时候, 我有这么一段鲜明的记忆 关于寻找我的脚裸上的两个大头针伤疤 当我问我爸爸它们在哪里的时候 他告诉我我还有一对这样的伤疤在头上 但因为头发的缘故我看不到它们 他解释说在我出生的时候 我早产了 我出来的时间过于早 我没有完全准备好 那时的我非常,非常虚弱 当医生看着这个黄黄的婴儿和他黑乎乎的牙齿 他盯着我的母亲说 “他没办法活下来” 我在医院里呆了数个月 在许多次的血液更换以后 我活下来了 而这是我独特的地方
I don't know if I really believe that. I don't know if my parents really believe that, but I didn't want to prove them wrong. Whatever I ended up being good at, I would strive to be worthy of the second chance I was given.
我不知道自己是不是真的相信这个说法 我也不知道我的父母是否同意 不过我不想去颠覆它们的真实性 每当我获得成功的时候 我会努力去珍惜着这个二次机会的给予
(Video) (Crying) Marlin: There, there, there. It's okay, daddy's here. Daddy's got you. I promise, I will never let anything happen to you, Nemo.
(视频)(哭声) 马文:好了,好了,好了。 没事了,爹地在这里。 爹地找到你了。 我保证, 我不会让任何意外发生在你的身上,尼莫。
AS: And that's the first story lesson I ever learned. Use what you know. Draw from it. It doesn't always mean plot or fact. It means capturing a truth from your experiencing it, expressing values you personally feel deep down in your core. And that's what ultimately led me to speaking to you here at TEDTalk today.
而那就是我学到的第一个关于故事的课程 用你所知道的,从中取经 这不是说总得写情节或者事实 它是指从你经历中的捕捉真谛 表达那些你切身体会到的有价值的东西 而且扎根在你的核心 这就是基本上启发我 今天在TED上给你们带来的演讲
Thank you.
谢谢。
(Applause)
(掌声)