This weekend, tens of millions of people in the United States and tens of millions more around the world, in Columbus, Georgia, in Cardiff, Wales, in Chongqing, China, in Chennai, India will leave their homes, they'll get in their cars or they'll take public transportation or they will carry themselves by foot, and they'll step into a room and sit down next to someone they don't know or maybe someone they do, and the lights will go down and they'll watch a movie.
这个周末, 不论在美国, 还是在世界上其他地方—— 佐治亚州的哥伦布, 威尔士的加的夫, 中国的重庆,印度的钦奈, 不计其数的人将走出家门, 钻进自己的车里, 或乘坐公共交通工具, 亦或者步行前往 一个巨大的房间, 与一群素不相识的人坐在一起, 其中也可能有他们的熟人, 随后灯火将熄灭,电影开始放映。
They'll watch movies about aliens or robots, or robot aliens or regular people. But they will all be movies about what it means to be human. Millions will feel awe or fear, millions will laugh and millions will cry. And then the lights will come back on, and they'll reemerge into the world they knew several hours prior. And millions of people will look at the world a little bit differently than they did when they went in.
他们会看关于外星人或机器人, 或机器外星人或普通人的电影。 但他们都是关于做人的电影。 数百万人会感到震慑或恐惧, 数百万人会笑,数百万人会哭。 然后灯火将重新打开, 他们会回到他们以前认识的世界。 这数千万人看世界的方式 将会与他们看电影前有所不同。
Like going to temple or a mosque or a church, or any other religious institution, movie-going is, in many ways, a sacred ritual. Repeated week after week after week. I'll be there this weekend, just like I was on most weekends between the years of 1996 and 1990, at the multiplex, near the shopping mall about five miles from my childhood home in Columbus, Georgia. The funny thing is that somewhere between then and now, I accidentally changed part of the conversation about which of those movies get made.
跟去寺庙或清真寺或教堂 或任何其他宗教机构一样, 从很多方面来说,看电影 是一个神圣的仪式。 一周又一周的重复。 我这个周末就会去那。 就跟我在1996年至1990年 间的大多数周末一样, 去购物中心附近的综合电影院, 距离我在佐治亚州哥伦布的 故居约5英里的地方。 有趣的是从那时到 现在的某个阶段, 我偶然改变了哪些电影该被制作 的部分谈话。
So, the story actually begins in 2005, in an office high above Sunset Boulevard, where I was a junior executive at Leonardo DiCaprio's production company Appian Way. And for those of you who aren't familiar with how the film industry works, it basically means that I was one of a few people behind the person who produces the movie for the people behind and in front of the camera, whose names you will better recognize than mine. Essentially, you're an assistant movie producer who does the unglamorous work that goes into the creative aspect of producing a movie. You make lists of writers and directors and actors who might be right for movies that you want to will into existence; you meet with many of them and their representatives, hoping to curry favor for some future date. And you read, a lot. You read novels that might become movies, you read comic books that might become movies, you read articles that might become movies, you read scripts that might become movies. And you read scripts from writers that might write the adaptations of the novels, of the comic books, of the articles, and might rewrite the scripts that you're already working on. All this in the hope of finding the next big thing or the next big writer who can deliver something that can make you and your company the next big thing.
故事实际开始于2005年, 在日落大道上方的办公室, 在那我是莱昂纳多·迪卡普里奥的 制片公司Appian Way的初级管理者。 对那些不熟悉电影产业 运作方式的人来说, 这基本上意味着我是在幕后 为导演和演员制作电影的少数人之一, 你会更容易认出他们的名字。 从本质上说,你是一 个助理电影制片人, 你的工作是在制作一部电影的 创意方面做一些单调乏味的工作。 你会列出一个名单, 上面有编剧、导演和演员, 都是你认为适合某部电影的人选; 你会见他们中的很多人 或他们的代表, 希望为将来的合作创造机会。 你还会读很多东西, 读可以成为电影的小说, 漫画、 文章、 剧本。 你还阅读一些编剧的剧本, 他们未来也许会将小说、漫画或文章 改变成电影剧本, 可能还会重写你已经 看中的剧本。 你做的这一切都为了 寻找下一个大作品, 或下一个可以让你和你的公司 变成大热门的下一个伟大编剧。
So in 2005, I was a development executive at Leonardo's production company. I got a phone call from the representative of a screenwriter that began pretty much the way all of those conversations did: "I've got Leo's next movie." Now in this movie, that his client had written, Leo would play an oil industry lobbyist whose girlfriend, a local meteorologist, threatens to leave him because his work contributes to global warming. And this is a situation that's been brought to a head by the fact that there's a hurricane forming in the Atlantic that's threatening to do Maria-like damage from Maine to Myrtle Beach. Leo, very sad about this impending break up, does a little more research about the hurricane and discovers that in its path across the Atlantic, it will pass over a long-dormant, though now active volcano that will spew toxic ash into its eye that will presumably be whipped into some sort of chemical weapon that will destroy the world.
所以在2005年,我是莱昂纳多 制作公司的一名开发主管。 我接到一位来自编剧代表的电话, 电话的开头还蛮老套的: “我有莱昂下部电影的剧本。” 由他客户所写的这个电影讲述了 这个故事: 莱昂将扮演石油行业的政治说客, 他的女友,一个当地气象学家, 威胁要离开他, 因为他的工作引起了世界变暖。 这一情况已经到了紧要关头, 因为大西洋上正在形成飓风, 对从缅因州到莫特尔海滩都会有有 类似玛利亚飓风的破坏。 莱昂对这突如其来的分手 感到非常难过, 他对飓风就多做了点研究后 发现在其经过大西洋的途中, 它将经过一个休眠已久的 活火山, 其有毒的灰烬将 喷射到飓风眼中 可能会形成潜在的化学武器 将会摧毁世界。
(Laughter)
(笑声)
It was at that point that I asked him, "So are you basically pitching me 'Leo versus the toxic superstorm that will destroy humanity?'" And he responded by saying, "Well, when you say it like that, it sounds ridiculous." And I'm embarrassed to admit that I had the guy send me the script, and I read 30 pages before I was sure that it was as bad as I thought it was. Now, "Superstorm" is certainly an extreme example, but it's also not an unusual one. And unfortunately, most scripts aren't as easy to dismiss as that one.
就在那时,我问他, “所以你是在向我推荐 ‘莱昂对抗将会摧毁人类的 有毒超级风暴吗?'" 他回答说, “你这样说,听起来是有些荒谬。” 这很尴尬,但我承认我最后 还是让那个人给我发了剧本, 我读了30页,确定了 它真有我想的那么糟糕。 现在, “超级风暴“肯定是 一个极端的例子, 但它也并非不寻常。 不幸的是,大多剧本并不像它 没那么容易确定不要。
For example, a comedy about a high school senior, who, when faced with an unplanned pregnancy, makes an unusual decision regarding her unborn child. That's obviously "Juno." Two hundred and thirty million at the worldwide box office, four Oscar nominations, one win. How about a Mumbai teen who grew up in the slums wants to become a contestant on the Indian version of "Who Wants To Be A Millionaire?"? That's an easy one -- "Slumdog Millionaire." Three hundred seventy-seven million worldwide, 10 Oscar nominations and eight wins. A chimpanzee tells his story of living with the legendary pop star Michael Jackson. Anyone?
例如,一部关于高中 毕业生的喜剧电影, 她,在面对意外怀孕时, 对未出生的孩子 做了个不寻常的决定。 那电影显然是“朱诺”。 全球票房2亿3千万, 四项奥斯卡提名,获胜一项。 那么一个从小在贫民窟 长大的孟买青年 想要在印度版的《百万富翁》 中胜出的故事呢? 这很简单——“贫民窟的百万富翁。” 全球票房3亿7千万, 10项奥斯卡提名奖,获胜8项。 一只黑猩猩讲述 它和传奇歌星迈克尔·杰克逊 生活在一起的故事。 有人知道吗?
(Laughter)
(笑声)
It's a trick question. But it is a script called "Bubbles," that is going to be directed by Taika Waititi, the director of "Thor: Ragnarok."
这是个棘手的问题。 但这是一个名叫“气泡”的剧本, 将由塔伊加·维迪提执导, 他是《雷神:诸神黄昏》的导演。
So, a large part of your job as a development executive is to separate the "Superstorms" from the "Slumdog Millionaires," and slightly more generally, the writers who write "Superstorm" from the writers who can write "Slumdog Millionaire." And the easiest way to do this, obviously, is to read all of the scripts, but that's, frankly, impossible. A good rule of thumb is that the Writers Guild of America registers about 50,000 new pieces of material every year, and most of them are screenplays. Of those, a reasonable estimate is about 5,000 of them make it through various filters, agencies, management companies, screenplay compositions and the like, and are read by someone at the production company or major studio level. And they're trying to decide whether they can become one of the 300-and-dropping movies that are released by the major studios or their sub-brands each year.
所以,作为开发主管的 很大部分工作是 区分《超级风暴》和 《贫民窟的百万富翁》, 稍微更普遍地说, 是把写作《超级风暴》的编剧 和能写作《贫民窟的百万富翁》 的编剧区分出来。 最简单的方法显然是 阅读所有剧本, 但这个,坦诚说,不可能。 根据经验数据,美国剧作家协会 每年会登记大约5万个新作品, 其中大部分是电影剧本。 其中,合理估计有5000件 通过了各种筛选, 如代理、管理公司、 剧本创作机构等等, 被制作公司或 主流电影公司的人阅读。 那些人正考虑着这些剧本是否能成为 每年由各大电影公司 或旗下品牌发行的 300部左右的电影之一。
I've described it before as being a little bit like walking into a members-only bookstore where the entire inventory is just organized haphazardly, and every book has the same, nondescript cover. Your job is to enter that bookstore and not come back until you've found the best and most profitable books there. It's anarchic and gleefully opaque.
我之前说过, 这有点像走进一家会员制书店, 所有的书都是随意摆放的, 每本书的封面都是 一样的平淡无奇·。 你的工作是进入那个书店, 除非你在那里找到了最好、 最赚钱的书,否则就不要出来。 它是暗无天日的一种不透明状态。
And everyone has their method to address these problems. You know, most rely on the major agencies and they just assume that if there's great talent in the world, they've already found their way to the agencies, regardless of the structural barriers that actually exist to get into the agencies in the first place. Others also constantly compare notes among themselves about what they've read and what's good, and they just hope that their cohort group is the best, most wired and has the best taste in town. And others try to read everything, but that's, again, impossible. If you're reading 500 screenplays in a year, you are reading a lot. And it's still only a small percentage of what's out there.
每个人都有自己的方法 解决这些问题。 你知道,大多数依靠主要代理机构, 他们会假设那些有才之人 已经找到通向代理的门路了, 无视摆在进入代理机构 门前的结构性障碍。 其他人则不断比较 彼此之间的笔记, 关于他们读过的、好的剧本 他们只希望自己的群体 是最好的,最努力的, 最有品味的。 其他人则试着读所有的剧本, 但这是不可能的。 如果你在一年读500个剧本, 你就读太多了。 但它仍然只是市面上的一小部分。
Fundamentally, it's triage. And when you're in triage, you tend to default to conventional wisdom about what works and what doesn't. That a comedy about a young woman dealing with reproductive reality can't sell. That the story of an Indian teenager isn't viable in the domestic marketplace or anywhere else in the world outside of India. That the only source of viable movies is a very narrow groups of writers who have already found their way to living and working in Hollywood, who already have the best representation in the business, and are writing a very narrow band of stories.
从根本上来说,这是分类。 当你在分类的时候, 你会自动默认传统智慧中 什么有效,什么无效。 一部关于年轻女人面对 生育现实的喜剧 毫无卖点。 一个印度青少年的故事在国内市场 或印度以外的任何地方都不可行。 可行电影的唯一来源 来自于已经在好莱坞 熟门熟路的那一小群编剧, 他们在商业中已经有了最好的代表作, 他们写的故事,也没什么新意。
And I'm somewhat embarrassed to admit, that that's where I found myself in 2005. Sitting in that office above Sunset Boulevard, staring down that metaphorical anonymized bookstore, and having read nothing but bad scripts for months. And I took this to mean one of two things: either A: I was not very good at my job, which was, ostensibly, finding good scripts, or B: reading bad scripts was the job. In which case, my mother's weekly phone calls, asking me if my law school entrance exam scores were still valid was something I should probably pay more attention to. What I also knew was that I was about to go on vacation for two weeks, and as bad as reading bad scripts is when it is your job, it's even more painful on vacation. So I had to do something.
我有点不好意思承认, 那是在2005年我发现自己所处的境地。 坐在日落大道上的 那间办公室里, 俯视着那家暗喻的匿名书店, 几个月来除了糟糕的剧本什么都没读。 我认为这意味着两件事中的一件: 第一:我并不擅长我的工作, 那就是,找到好的剧本, 第二:我的工作就是阅读不好的剧本。 在这种情况下,我母亲 每周给我打电话, 询问我的法学院入学考试成绩 是否仍然有效, 可能是我应该更加关注的事情。 我也知道 我将要度假两周, 工作时读烂剧本已经够糟糕的, 度假的时候读它们更可怕。 所以我必须做点啥。
So late one night at my office, I made a list of everyone that I had had breakfast, lunch, dinner or drinks with that had jobs similar to mine, and I sent them an anonymous email. And I made a very simple request. Send me a list of up to 10 of your favorite screenplays that meet three criteria. One: you love the screenplay, two: the filmed version of that screenplay will not be in theaters by the end of that calendar year, and three: you found out about the screenplay this year. This was not an appeal for the scripts that would be the next great blockbuster, not an appeal for the scripts that will win the Academy Award, they didn't need to be scripts that their bosses loved or that their studio wanted to make. It was very simply an opportunity for people to speak their minds about what they loved, which, in this world, is increasingly rare.
一天晚上在我的办公室, 我做了一份清单, 上面有与我吃过早餐,午餐, 晚餐和一起喝过酒, 跟我有类似工作的人, 我给他们发了一封匿名电邮。 我有一个非常简单的请求。 请列出上至10个你最喜欢的剧本, 它们要符合三个标准。 第一:你喜欢这个剧本, 第二:该剧本的电影将不会在 当年年底上映, 第三:这是你今年发现的剧本。 这不是对下一部大作的呼吁, 也不是对将赢得奥斯卡 大作的呼吁, 它们也不必要是老板们 钟爱的剧本 或他们工作室想要制作的剧本。 这只是个简单的机会让人们 说出他们所喜爱的, 这点,在这个世界越来越稀罕了。
Now, almost all of the 75 people I emailed anonymously responded. And then two dozen other people actually emailed to participate to this anonymous email address, but I confirmed that they did in fact have the jobs they claimed to have. And I then compiled the votes into a spreadsheet, ran a pivot table, output it to PowerPoint, and the night before I left for vacation, I slapped a quasi subversive name on it and emailed it back from that anonymous email address to everyone who voted. The Black List. A tribute to those who lost their careers during the anti-communist hysteria of the 1940s and 50s, and a conscious inversion of the notion that black somehow had a negative connotation.
几乎所有75个我匿名 邮件的人都回应了。 另外还有24个人发邮件 参与到这个匿名的邮件往来, 但我确认他们确实拥有 他们声称拥有的工作。 然后我把投票整理成电子表格, 做了点透视图,把结果放到PPT中, 在我离开度假前那晚, 我给它起了个颠覆性的名字, 通过匿名邮件地址发还给 参与投票的每个人。 我把它称为“黑名单”。 它是向20世纪40年代和50年代在 反共狂潮中失去事业 的人们的致敬, 这是一种意识上的颠覆, 即黑在某种程度上有负面含义。
After arriving in Mexico, I pulled out a chair by the pool, started reading these scripts and found, to my shock and joy, that most of them were actually quite good. Mission accomplished. What I didn't and couldn't have expected was what happened next. About a week into my time on vacation, I stopped by the hotel's business center to check my email. This was a pre-iPhone world, after all. And found that this list that I had created anonymously had been forwarded back to me several dozen times, at my personal email address. Everyone was sharing this list of scripts that everyone had said that they loved, reading them and then loving them themselves. And my first reaction, that I can't actually say here, but will describe it as fear, the idea of surveying people about their scripts was certainly not a novel or a genius one. Surely, there was some unwritten Hollywood rule of omertà that had guided people away from doing that before that I was simply too naive to understand, it being so early in my career. I was sure I was going to get fired, and so I decided that day that A: I would never tell anybody that I had done this, and B: I would never do it again.
抵达墨西哥之后, 我在泳池旁边拉出一把椅子, 开始阅读这些剧本, 我惊喜 地发现, 大多剧本其实是不错的。 任务完成。 我没有和没能想到的是 下来发生的事情。 我度假大约一个星期。 我在酒店的商业中心 停下来检查我的邮件。 这是苹果手机的之前世界,毕竟。 我发现我匿名创造的清单 被转发给我几十次, 到我个人的电邮地址中。 每个人都在分享这个剧本的清单, 因为他人的喜爱, 在自己阅读了剧本之后, 也喜欢上了它们。 我的第一反应是, 我不能这儿说, 但是我将形容它为恐惧, 调查人们对剧本的想法 当然不是一个新奇或天才的主意。 当然,好莱坞有一些 不成文的“默尔塔法则”, 它曾引导人们远离这类行为, 当时我还太幼稚,无法理解, 因为那是我职业生涯的早期。 我确信我会被解雇, 所以那天我决定了 A:我永远不告诉任何人 是我写的这个清单, B:我永远不再做这个了。
Then, six months later, something even more bizarre happened. I was in my office, on Sunset, and got a phone call from another writer's agent. The call began very similarly to the call about "Superstorm": "I've got Leo's next movie." Now, that's not the interesting part. The interesting part was the way the call ended. Because this agent then told me, and I quote, "Don't tell anybody, but I have it on really good authority this is going to be the number one script on next year's Black List."
然后,六个月之后, 更奇怪的事情发生了。 我在我的办公室,在日落大街, 一个编剧的经纪人给我打电话。 电话的开场非常相似“超级风暴”: “我有莱昂下部电影的剧本。” 现在,这不是有趣的部分。 有趣的部分是电话结束的方式。 因为这个经纪人随后 告诉我,我引用下, “别告诉任何人, 但是我非常确信 这将会是来年 黑名单上的头号脚本。“
(Laughter)
(笑声)
Yeah. Suffice it to say, I was dumbfounded. Here was an agent, using the Black List, this thing that I had made anonymously and decided to never make again, to sell his client to me. To suggest that the script had merit, based solely on the possibility of being included on a list of beloved screenplays. After the call ended, I sat in my office, sort of staring out the window, alternating between shock and general giddiness.
是啊。 我只能说,我傻眼了。 这个代理人,使用了 黑名单,这个我匿名做的 并决定不再做的东西, 来把他的客户推销给我。 推荐的理由是仅因为这个剧本有可能 会被列入受人喜爱的剧本清单中。 电话结束了之后,我在办公室里, 盯着窗外, 处于震惊和昏眩之间。
And then I realized that this thing that I had created had a lot more value than just me finding good screenplays to read over the holidays. And so I did it again the next year -- and the "LA Times" had outed me as the person who had created it -- and the year after that, and the year after that -- I've done it every year since 2005. And the results have been fascinating, because, unapologetic lying aside, this agent was exactly right. This list was evidence, to many people, of a script's value, and that a great script had greater value that, I think, a lot of people had previously anticipated. Very quickly, the writers whose scripts were on that list started getting jobs, those scripts started getting made, and the scripts that got made were often the ones that violated the assumptions about what worked and what didn't. They were scripts like "Juno" and "Little Miss Sunshine" and "The Queen" and "The King's Speech" and "Spotlight." And yes, "Slumdog Millionaire." And even an upcoming movie about Michael Jackson's chimpanzee.
然后我意识到我创作的这件事 远比我在假期中 找到好的剧本来读要更具价值。 所以我来年又做了这个 -- 而“洛杉矶时报”泄露了 我是它的创作者-- 而在那之后的一年, 而在那之后的一年-- 自2005年以来我每年都做了。 结果很迷人, 因为,无须解释 ,这个 经纪人是完全正确的。 这份清单代表了一个剧本的价值, 证明了一部好剧本会有 比人们预期的更大的价值。 那些在清单上的剧作家 开始找到了工作, 这些剧本开始被制作, 那些被选中的剧本 往往是那些违背了 什么有效和无效假设的剧本。 比如说《朱诺》,《阳光小美女》, 《女王》,《国王的演讲》 和 《聚光灯》这样的剧本。 是的,《贫民窟的百万富翁》。 甚至还包括即将到来的关于 迈克尔·杰克逊的黑猩猩的电影。
Now, I think it's really important that I pause here for a second and say that I can't take credit for the success of any of those movies. I didn't write them, I didn't direct them, I didn't produce them, I didn't gaff them, I didn't make food and craft service -- we all know how important that is. The credit for those movies, the credit for that success, goes to the people who made the films. What I did was change the way people looked at them. Accidentally, I asked if the conventional wisdom was correct. And certainly, there are movies on that list that would have gotten made without the Black List, but there are many that definitely would not have. And at a minimum, we've catalyzed a lot of them into production, and I think that's worth noting.
现在,我想在这有必要停顿一下, 这些电影的成功不能归功于我。 我不是编剧,也不是导演, 我也没有参与制作,我也不是灯光师, 我也没有给演员提供餐饮服务—— 我们都知道这个多么重要。 这些电影,这些成功, 归功于制造电影的人们。 我做的是改变人们看待它们的方法。 无意中,我挑战了传统的智慧是否正确。 当然,没有黑名单, 在清单上的有些电影 本来也会被制作, 但肯定有很多不会被制作。 至少,我们催化了 很多剧本进入制作阶段, 我认为这是值得注意的。
There have been about 1,000 screenplays on the Black List since its inception in 2005. About 325 have been produced. They've been nominated for 300 Academy Awards, they've won 50. Four of the last nine Best Pictures have gone to scripts from the Black List, and 10 of the last 20 screenplay Oscars have gone to scripts from the Black List. All told, they've made about 25 billion dollars in worldwide box office, which means that hundreds of millions of people have seen these films when they leave their homes, and sit next to someone they don't know and the lights go down. And that's to say nothing of post-theatrical environments like DVD, streaming and, let's be honest, illegal downloads.
自2005年推出以来,黑名单上有 大约1000个剧本。 大约325已经被制作了。 其中共获得300奥斯卡提名, 赢得50项奖。 最近的9部最佳影片中, 有4部来自黑名单的剧本, 最近的20项奥斯卡最佳编剧奖中, 有10项来自黑名单。 加起来,它们全球票房的总收入 为250亿美元, 意味着有数亿人 离开家,坐在他们不认识的人身边, 关灯看了这些电影。 就更不必说院线外的诸如 DVD和流媒体,非法下载这些渠道了。
Five years ago today, October 15, my business partner and I doubled down on this notion that screenwriting talent was not where we expected to find it, and we launched a website that would allow anybody on earth who had written an English-language screenplay to upload their script, have it evaluated, and make it available to thousands of film-industry professionals. And I'm pleased to say, in the five years since its launch, we've largely proved that thesis. Hundreds of writers from across the world have found representation, have had their work optioned or sold. Seven have even seen their films made in the last three years, including the film "Nightingale," the story of a war veteran's psychological decline, in which David Oyelowo's face is the only one on screen for the film's 90-minute duration. It was nominated for a Golden Globe and two Emmy Awards.
5年前的今天,10月15号, 我和我的商业伙伴都坚信, 剧本创作人才并不在 我们预料得到的地方, 我们推出了一个网站, 允许世上任何写了英语剧本的人 上传他们的本子,让它获得评估, 并将其提供给成千上万的 电影行业专业人士。 我很高兴地说,自推出5年以来, 我们在很大程度上 证明了这个观点。 来自世界各地的数百名编剧 已经找到了代表, 他们的作品被选中或买下。 有7个人在过去的3年里 已经制作了他们的电影, 包括一部叫《夜莺》的电影, 关于一位老兵心理衰退的故事, 在这部90分钟的电影里, 大卫·奥伊罗是唯一出现在 大荧幕上的演员。 它获得一个金球奖和两个艾美奖的提名 。
It's also kind of cool that more than a dozen writers who were discovered on the website have ended up on this end-of-year annual list, including two of the last three number one writers. Simply put, the conventional wisdom about screenwriting merit -- where it was and where it could be found, was wrong. And this is notable, because as I mentioned before, in the triage of finding movies to make and making them, there's a lot of relying on conventional wisdom. And that conventional wisdom, maybe, just maybe, might be wrong to even greater consequence.
还有一件很酷的事, 因为这个网站而被发现的 十几位编剧都出现在了 这个年终年度榜单上, 是过去三年中”最佳编剧“之中的两位。 简单地说,关于剧本价值的 传统智慧 -- 它在哪里以及它可以在哪里找到, 是错误的。 这是值得注意的, 因为正如我之前提到, 在寻找电影和制作的分类中, 有太多依靠传统智慧。 而那个传统的智慧, 可能,只可能, 可能会有导致更大的问题。
Films about black people don't sell overseas. Female-driven action movies don't work, because women will see themselves in men, but men won't see themselves in women. That no one wants to see movies about women over 40. That our onscreen heroes have to conform to a very narrow idea about beauty that we consider conventional. What does that mean when those images are projected 30 feet high and the lights go down, for a kid that looks like me in Columbus, Georgia? Or a Muslim girl in Cardiff, Wales? Or a gay kid in Chennai? What does it mean for how we see ourselves and how we see the world and for how the world sees us?
黑人的电影在海外不热销 。 女性主导的动作片没戏, 因为女人通过男人会看到自己, 但男人不会从女人中看到自己。 没有人想看40岁以上的女性电影。 我们的银幕英雄 必须遵从我们认为 传统的关于美的狭隘观念。 当这些图像被投射到30英尺 高的地方,灯光熄灭, 对像我这样在乔治亚州 哥伦布市长大的孩子 或者是威尔士加的夫的一个穆斯林女孩, 或者钦奈的同性恋, 这对我们如何看自己意味着什么? 这对如何看待世界和世界如何看待我们, 意味着什么?
We live in very strange times. And I think for the most part, we all live in a state of constant triage. There's just too much information, too much stuff to contend with. And so as a rule, we tend to default to conventional wisdom. And I think it's important that we ask ourselves, constantly, how much of that conventional wisdom is all convention and no wisdom? And at what cost?
我们生活在很奇怪的时代。 我认为在很大程度上,我们都生活在 一个不断筛选的状态中。 有太多信息, 太多的东西要处理。 因此我们倾向于默认传统智慧。 我认为我们需要不断地扪心自问 传统智慧中有多少只是 传统的,却无智慧的? 还有代价是什么?
Thank you.
谢谢。
(Applause)
(鼓掌)