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 ... "
安德魯史丹頓:一名背包客 在蘇格蘭高地旅遊, 在一家酒館停下來喝一杯。 那裡只有酒保 和一位喝著啤酒的老人家。 背包客點了杯啤酒,他們默默然坐了一會。 忽然間,老人家轉向他說, "看到這家酒吧嗎? 我用上全縣最好的木材 憑雙手建成這家酒吧。 給它比給我兒子更多的愛和關心。 但他們會稱呼我酒吧建造者MacGregor嗎?不會。" 指向窗外。 "你看見外面那石牆嗎? 我赤手築起的石牆。 找來每塊石頭,歷盡雨水和寒冷把它們疊起來。 但他們會稱呼我石牆建造者MacGregor嗎?不會。" 指向窗外。 你看見外面湖邊那碼頭嗎? 我赤手築成那碼頭。 迎著浪把樁柱,一枝枝的,打進湖底沙中。 但他們會稱呼我碼頭建造者MacGregor嗎?不會。 但你和一頭羊性交..."
(Laughter)
(笑聲)
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.
說故事 -- (笑聲) 就是說笑話。 那是知道你的笑點, 你故事的結局, 知道你所說的一切,從第一到最後的一句話, 都是朝著單一目標, 理想地也確認一些真理 以加深我們對自己 作為人類的認識。 我們都愛聽故事。 我們為它們而來到這個世界。 故事肯定我們是什麼的人。 我們都想得到生命是有意義的肯定。 沒有其他東西可比 用故事把我們連結起來帶來更大的肯定。 它可穿越時間, 過去、現在和未來的障礙, 讓我們可透過其他人, 真實的或想像的, 去感受彼此的異同。
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.
兒童電視節目主持人Rogers先生 在他的錢包裡經常帶著 社會工作者的一句說話 它說:"坦白說,當你聽過他們的故事後, 沒有任何人你不能學會去愛他的。" 我喜歡用來演譯它的方式是 說故事的誡條最重要的 是"令我關心" -- 請你,在感情上、 理智上和美學上 令我關心。 我們都知道毫不在乎是怎樣的。 你逐一頻道地 轉換了數百個電視頻道, 然後突然停在某一頻道上。 它已播放了一半, 但有些東西吸引到你令你關心。 這並非偶然, 而是經過精心設計的。
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.
這令我反省,如果我把要告訴你我的歷史作為故事, 我如何為它來到這個世界, 如何在過程中不斷學習這個題材? 為使它更有趣, 我會從結局開始 然後回到起點。 如果我要先給你這個故事的結局, 它會是像這樣: 這亦是最終令我 在TED這裡 說給各位聽的故事。
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.
我最近的故事課是 剛在今年2012 完成那一部電影。 電影名叫"異星爭霸戰:尊卡特傳奇"(John Carter)。它根據Edgar Rice Burroughs所寫 一本叫"火星公主"(The Princess of Mars")的書拍成。 Edgar Rice Burroughs 亦在電影內 扮演一個角色和擔任旁白。 他富有的叔叔,尊卡特,發電報傳召他去他的豪宅 電報上說,"立刻前來見我。" 當他去到那裡, 他發現叔叔神秘地去世了 被埋在自有的陵墓內
(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.
(影片)管家:你不會找到匙孔的。 它只能從裡面打開。 他堅持, 不做防腐處理,不開棺, 不舉行葬禮。 如果是像我們一樣的人 你不會得到你叔叔支配的那樣的財富,是吧? 來,我們進去看看。
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.
這一幕,在書中也同樣出現,有什麼目的呢? 它基本上是作出一個承諾。 它向你作出一個承諾 故事會領你到某處理值得你花時間的地方。 這是所有優秀故事開始時都應做的,給你一個承諾。 你可有無盡的方法去做。 有時只是簡單地"很久以前..." 這些卡特的書裡面都有Edgar Rice Burroughs 作為旁白。 我經常覺得這是一個很棒的工具。 就像有人邀請你加入營火晚會, 或酒吧中有人說,"讓我給你說個故事。 它並非發生在我身上,而是在另一個人身上, 但它值得你花時間聽聽。" 一個說得好的承諾 就像拉彈弓的石子 並推動你前進 直至故事的結局。
In 2008, I pushed all the theories that I had on story at the time to the limits of my understanding on this project.
2008年, 我把當時對故事的所有理論 在這項目上推到我能理解的極限
(Video) (Mechanical Sounds) ♫ And that is all ♫ ♫ that love's about ♫ ♫ And we'll recall ♫ ♫ when time runs out ♫ ♫ That it only ♫ (Laughter)
(影片)(機械音響) ♫這就是♫ ♫愛的意義♫ ♫我們會♫ ♫在時間消逝後♫ ♫記得它♫ (笑聲)
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.
沒有對話地說故事。 這是電影式說故事的最純粹的形式。 它是你可採用最包容的方式。 它印證了我真的有預感的一些東西, 就是觀眾 實際想參與準備他們的食物。 他們只是不想知道自己在做那些工作。 那是你作為說故事者的任務, 就是隱瞞 你令他們自己準備食物的事實。 我們是天生解決問題的人。 我們被迫演譯 和歸納, 因為這正是我們在現實生活所做的。 正是這種有組織的信息不足 把我們拉進去。 我們被嬰兒或小狗吸引是有原因的。 不單是因他們可愛; 而是他們不能完全表達 他們的想法和動機。 它像一塊磁鐵。 我們無法阻止自己 要完成句子和填上去。
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.
我首次開始 真正明白說故事的工具 是在我和Bob Peterson寫"海底總動員(Finding Nemo)"的時候。 我們稱之為二加二的統一理論。 使觀眾把東西放在一起。 不要把四給他們, 給他們二加二。 你提供的元素和編排它們的次序 對你能否成功引起觀眾投入起關鍵作用。 編輯和編劇們一直都知道這點。 它無形的應用 吸引我們對故事的關注。 我不是要它聽起來 像是精確科學,它不是。 這是為何故事那麼特別, 它們不是零件,它們並不精確。 好的故事是不可抗拒的, 但它們是難以預測的。
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.
我今年參加了 表演老師Judith Weston的一個研討會。 我學到了對角色的一個見解。 她相信所有出色的角色 都是有骨幹的。 意思是角色有一副內在的發動機 他們所追求的一個主導性、沒意識的目標, 一個他們搔不著的癢處。 她舉了很好的例子,就是"教父"中Michael Corleone, 是Al Pacino飾演的角色, 他們骨幹很可能 就是討好他的父親。 那一直驅動著他所有的選擇。 即使他父親去世後, 他還不斷依循這個思維 這令我如魚得水。 在Wall-E中是美的追求。 在"海底總動員"中,父親Marlin, 是要避開傷害。 而“玩具總動員(Toy Story)”中Woody是要做對小孩最好的事。 但這些骨幹不一定驅使你作出最佳的選擇。 有時你可作出可怕的選擇。
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.
我其的很幸運能作為一名家長, 看著孩子成長,我真的堅信 你生與俱來某氣質和特定想法, 你是無權過問的, 亦無法改變的。 你只可學會認識它 和擁有之。 有些人生與俱來正面的氣質, 有些是負面的。 但當你夠成熟 去承認是什麼驅使你 並去操控它時 你就通過了一個重要的門檻。 作為父母,你總是在了解你的孩子。 他們也在了解自己。 而你亦仍在了解自己。 所以我們無時無刻都在學習了解。 這是為何改變是故事的基礎。 如果事物靜止,故事就失去生命, 因為生活永不靜止。
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, 我寫完"玩具總動員(Toy Story)"和"蟲蟲特攻隊(A Bug's Life)"之後 我完全迷上了編劇。 所以我想做得更好而盡我所能去學習。 我盡我所能去研究一切。 最後我遇到這奇妙的佳句 英國劇作家 William Archer 所說的: "戲劇是預期 夾雜著不明朗。" 這是一個令人難以置信的精闢定義。
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?
當你說故事時, 有沒有建立期待? 短暫地,你有沒有令我想要知道 接下來會發生什麼? 但更重要的是, 你有沒有令我想要知道 它長期的結局? 你有沒有透過事實真相 建立誠實的衝突 創造對可能出現的結果產生的懷疑? 在"海底總動員(Finding Nemo)"有個例子, 在短期中,你總是擔心 Dory的短暫記憶 會否令他忘記Marlin對她說過的話。 但在這之下是 能否在浩瀚的大海中 找到Nemo的整體張力。
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.
我們早期在皮克斯工作室時, 在我們真正了解故事的無形運作前, 我們簡單地只是一群靠直覺和本能去做的人。 有趣的是 這引領我們 去到實際相當不錯的位置。 你要記住在每年的這個時候, 在1993年那時, 被視為成功的動畫 是"小美人魚(The Little Mermaid)","美女與野獸(Beauty and the Beast)", "阿拉丁(Aladdin)","獅子王(Lion King)"。 當我們首次向Tom Hanks推薦"玩具總動員"時, 他走進來說, "你們不是要我唱歌吧?" 我想這完美地概括了 當時人們對動畫的想法。 但我們真的想證明 你可在動畫中用完全不同的方法去說故事。
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.
我們那時並無任何影響力, 所以我們有一份我們自己的 祕密的規則。 那是:沒有歌曲, 沒有"我想"時刻, 沒有快樂村莊, 沒有愛情故事。 諷刺的是,在第一年裡, 我們的故事完全不行 迪士尼恐慌了。 他們私下詢問 一位知名的作詞人的意見,我不要說出他的名字, 他傳真了幾項建議。 我們拿到了那份傳真。 傳真說, 應有歌曲, 應有一首"我想"的歌, 應有一首快樂村莊的歌, 應有一個愛情故事 亦應有一個惡棍。 感謝上蒼 我們當時就是太年輕、反叛和相反主義者。 這給我們更大的決心 去證明我們可創作一個更好的故事。 一年之後,我們戰勝了。 它正好證明了 說故事有指引, 但不是硬性的規則。
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.
我們學會的另一基礎知識是 關於喜愛你的主角的。 我們曾幼稚地認為 在"玩具總動員"結尾Woody要變得無私, 你便要從某一處開始。 就讓我們先把他寫成自私。就是這樣。
(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?
(旁白)Woody:你覺得怎樣? 下床。 喂,下床! 薯頭先生:Woody,你打算把我們趕下床嗎? Woody:不,是他。 Slinky?Slink .. Slinky! 起來,做你的工作。 你聾了嗎? 我說,處理他們。 Slinky:對不起,Woody, 我得要他們的同意。 我不認為你所做是對的。 Woody:什麼?我沒聽錯吧? 你不認為我是對的? 誰說你的工作是思想,Spring Wiener?
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.
那麼如何令一個自私的角色變得可愛呢? 我們意識到你可把他變得仁慈、 慷慨、風趣、體貼、 唯一的條件是 他永遠是排於第一位的玩具。 這正是事實, 我們都有條件地生活著。 我們願意依循規則 只要某些條件得到滿足。 之後,遊戲結束。 甚至在我決定以說故事作為我的事業前, 我現在可看到在我年輕時發生的關鍵事情 真的令我瞠目 有關故事的一些事情。
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,我真正理解 故事有一個主題這個概念。 正是我們修復和重新發行 "阿拉伯的勞倫斯(Lawrence of Arabia)"那一年。 我在一個月內看了那部戲七次。 我無法得到滿足。 我可以說出背後有宏偉的設計 -- 每一個鏡頭,每一個埸景,每行對白。 但表面上它看似 描繪著他的 歷史過程。 但那裡還說著更多的東西。究竟是什麼呢? 要去到我看最後一次時, 面紗才被揭開來 是在他橫越西奈沙漠那埸戲 他走到了蘇伊士運河, 我突然明白了。
(Video) Boy: Hey! Hey! Hey! Hey! Cyclist: Who are you? Who are you?
(影片)男孩:喂!喂!喂!喂! 騎車的人:你是誰? 你是誰?
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.
這就是主題:你是誰? 這裡是所有這些看似不相干的 事件和對話 只按時間順序說著他的歷史, 但在這下面是一個常數, 一個指引,一個路線圖。 勞倫斯在那部電影所做的一切 是企圖為他找出他在世界上的位置。 總有一個強而有力的主題貫穿著 說得很好的故事。
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.
在我五歲的時候, 我已接觸到我覺得一個故事應具備 可能是最主要的材料 而很少被應用到的。 這是我五歲時媽媽帶我去看的。
(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.
(影片)Thumper:來吧,沒問題的。 看。 水結冰了。 Bambi:喔耶! Thumper: 想玩嗎 Bambi? 來吧。起來吧。 像這樣。 哈哈。不要,不要,不要。
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.
我走出那裡 充滿好奇的睜大雙眼。 這是我認為的神奇材料成分, 秘密醬汁, 就是你調用奇蹟。 奇蹟是誠實,它是完全天真的。 它不可能人為地誘發。 對我來說,世上沒有更大的能力 超過另一個人給予你那種感覺的天賦 -- 去抓住他們的曰子裡的一段短暫時刻 把自己順從於奇蹟。 當它被應用時,作為活著的肯定, 它幾乎透入你細胞裡面。 當一名藝術家施之於另一名藝術家時, 它像強迫你要傳揚出去一樣。 它像是沈睡的指令 突然被喚醒起來,像造訪魔鬼山(Devil's Tower)一樣。 把施於你身上的施於其他人。 最好的故事注入了奇蹟。
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.
當我四歲的時候, 我有一個生動的記憶 在我的腳踝上找到兩個細微的疤痕 並問我爸爸它們是什麼。 他說在我頭上也有匹配的一對像那樣的東西, 但因為我的頭髮遮蓋看不到它們。 他解釋我出生時 並不足月 我早產的太快 並未完全成熟; 我病得十分厲害。 當醫生看了這個黃色,黑色牙齒的嬰孩後, 他直望著我媽媽說, "他活不成的。" 我在醫院住了幾個月, 輸了很多次血後, 我活了下來, 這令我與眾不同。
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.
我不知自己是否真的相信這說法。 我不知我父母是否真的相信, 但我不想去證明他們錯誤。 無論我最後有什麼成就, 我會為值得給予第二次機會而努力。
(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.
(影片)(哭泣) Marlin:那裡,那裡,那裡。 沒關係,爸爸在這裡。 爸爸找到你了。 我承諾, 我不會再讓任何事情發生在你Nemo身上。
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.
這就是我所上的第一課。 使用你知道的東西。從中抽取使用。 那不一定意味著情節或事實。 那意味著從你經驗它時捕捉真理, 表達你個人內心深處 感受到的價值。 這是最終引領我在今天的TEDTalk這裡 和各位說話的原因。
Thank you.
謝謝大家
(Applause)
(掌聲)