I grew up on a steady diet of science fiction. In high school, I took a bus to school an hour each way every day. And I was always absorbed in a book, science fiction book, which took my mind to other worlds, and satisfied, in a narrative form, this insatiable sense of curiosity that I had.
我在科幻的滋潤下成長。 高中時,我每天坐巴士上學, 單趟就要一個小時。 而我常常沉醉於書本中 -- 科幻書籍, 它會把我的思想帶領到其他世界中, 用文字的方式, 滿足我貪得無厭的求知慾。
And you know, that curiosity also manifested itself in the fact that whenever I wasn't in school I was out in the woods, hiking and taking "samples" -- frogs and snakes and bugs and pond water -- and bringing it back, looking at it under the microscope. You know, I was a real science geek. But it was all about trying to understand the world, understand the limits of possibility.
你要知道,我的好奇心很強烈, 當我不在學校時, 我就在樹林中, 遠足和收集樣本 -- 青蛙,蛇,昆蟲和池塘水 -- 然後把它帶回家中放在顯微鏡下觀看。 我是一個典型的科學怪胎。 但這全因為我想瞭解世界, 瞭解所有可能發生的事的極限。
And my love of science fiction actually seemed mirrored in the world around me, because what was happening, this was in the late '60s, we were going to the moon, we were exploring the deep oceans. Jacques Cousteau was coming into our living rooms with his amazing specials that showed us animals and places and a wondrous world that we could never really have previously imagined. So, that seemed to resonate with the whole science fiction part of it.
我對科學的鍾愛, 實際上可反映在我週圍的世界中, 因為在六十年代末發生了許多事, 包括人類登陸月球、 探索海洋的深處。 傑克.庫斯托(著名深海探險家)拍攝了 奇妙的電視特輯 -- 包括我們從前從未想像過的 動物、景點及奇妙的世界。 所以這好像 與整個科幻領域產生共鳴。
And I was an artist. I could draw. I could paint. And I found that because there weren't video games and this saturation of CG movies and all of this imagery in the media landscape, I had to create these images in my head. You know, we all did, as kids having to read a book, and through the author's description, put something on the movie screen in our heads. And so, my response to this was to paint, to draw alien creatures, alien worlds, robots, spaceships, all that stuff. I was endlessly getting busted in math class doodling behind the textbook. That was -- the creativity had to find its outlet somehow.
當時我是一位藝術家, 我會畫,也會上色。 我發現我繪畫是因為那時沒有電視遊戲, 沒有這些色彩飽和的電腦動畫電影, 更沒有現代媒體所創造的影像, 我需要在我的腦中創造出那些影像。 就像小孩讀書一樣,我們所做的, 是透過作者的描述, 把畫面呈現在我們腦海中的電影螢幕上。 所以,我的作法就是把它描繪出來, 把外星生物、外星世界、 機械人、太空船等所有這些東西畫出來。 我不斷地在數學課中遭到挫敗, 只好躲在課本後面亂塗。 這是創意, 需要找一些方式宣洩。
And an interesting thing happened: The Jacques Cousteau shows actually got me very excited about the fact that there was an alien world right here on Earth. I might not really go to an alien world on a spaceship someday -- that seemed pretty darn unlikely. But that was a world I could really go to, right here on Earth, that was as rich and exotic as anything that I had imagined from reading these books.
然後有一件有趣的事情發生了,傑克.庫斯托的節目 告訴我們地球上有一個外星世界存在, 這讓我感到興奮極了。 我或許不會真的坐太空船 到外太空, 看起來也真的不大可能, 但他所介紹的地方,是我真的可以去到的地方 -- 就在這地球上,就和我讀科幻書 幻想到的東西一樣豐富、 一樣奇特。
So, I decided I was going to become a scuba diver at the age of 15. And the only problem with that was that I lived in a little village in Canada, 600 miles from the nearest ocean. But I didn't let that daunt me. I pestered my father until he finally found a scuba class in Buffalo, New York, right across the border from where we live. And I actually got certified in a pool at a YMCA in the dead of winter in Buffalo, New York. And I didn't see the ocean, a real ocean, for another two years, until we moved to California.
所以,在我十五歲那年, 我決定學會潛水。 但唯一的問題是, 我住在加拿大的一個小村莊, 離最近的海洋也有約一千公里之遠, 但我沒有被這嚇倒。 我苦苦糾纏我父親,後來他終於發現, 紐約水牛城有開設一堂潛水課, 從我們住的地方跨過邊境就到了。 而我真的在一個嚴寒的冬天裡, 在紐約水牛城女青年會裡的游泳池, 取得了潛水資格。 在那之前,我沒有見過真正的海洋, 直到兩年後, 我們搬到加州來。
Since then, in the intervening 40 years, I've spent about 3,000 hours underwater, and 500 hours of that was in submersibles. And I've learned that that deep-ocean environment, and even the shallow oceans, are so rich with amazing life that really is beyond our imagination. Nature's imagination is so boundless compared to our own meager human imagination. I still, to this day, stand in absolute awe of what I see when I make these dives. And my love affair with the ocean is ongoing, and just as strong as it ever was.
從那時起, 四十年來, 我已在海底待了大約三千個小時, 其中五百小時待在潛艇裡。 我發現,不論是在深海 或是淺海, 都蘊藏了豐富且奇妙的生物, 遠遠超過我們所能想像。 大自然的想像力是無邊際的, 相較之下, 人類的想像力貧乏的可憐。 直至今天, 我仍敬畏我在潛水時看到的景像。 我對海洋的愛是持續的, 仍然和以往一樣強烈。
But when I chose a career as an adult, it was filmmaking. And that seemed to be the best way to reconcile this urge I had to tell stories with my urges to create images. And I was, as a kid, constantly drawing comic books, and so on. So, filmmaking was the way to put pictures and stories together, and that made sense. And of course the stories that I chose to tell were science fiction stories: "Terminator," "Aliens" and "The Abyss." And with "The Abyss," I was putting together my love of underwater and diving with filmmaking. So, you know, merging the two passions.
但當我像其他成年人一樣選擇職業時, 我選擇了拍電影。 這好像是調和我想講故事與 我想創造影像這二種慾望 的最好方法。 當我還是小孩時,我經常畫漫畫之類的東西, 而拍電影是把圖像、故事放在一起, 那很有意義。 當然,我想要講的故事 是科幻故事,像是"魔鬼終結者"、"異形"、 和 "無底洞"等, 而在"無底洞"裡,我把我所愛的 海底世界、潛水拍成電影, 這等於是把兩種熱情融合在一起。
Something interesting came out of "The Abyss," which was that to solve a specific narrative problem on that film, which was to create this kind of liquid water creature, we actually embraced computer generated animation, CG. And this resulted in the first soft-surface character, CG animation that was ever in a movie. And even though the film didn't make any money -- barely broke even, I should say -- I witnessed something amazing, which is that the audience, the global audience, was mesmerized by this apparent magic.
在拍攝"無底洞"時,發生了一些有趣的事情, 為了拍攝出影片裡所描述 的某些特殊景像, 為了要創造出那個流體水怪, 我們確實運用了一些電腦動畫技術。 它是第一個在電影中, 運用電腦動畫 所繪製出的流體角色, 雖然這部電影沒有賺錢, 或者應該說只是勉強打平而已, 但我見證了一些奇妙的事 -- 就是觀眾, 包含世界各地的觀眾, 都被這個魔法迷住了。
You know, it's Arthur Clarke's law that any sufficiently advanced technology is indistinguishable from magic. They were seeing something magical. And so that got me very excited. And I thought, "Wow, this is something that needs to be embraced into the cinematic art." So, with "Terminator 2," which was my next film, we took that much farther. Working with ILM, we created the liquid metal dude in that film. The success hung in the balance on whether that effect would work. And it did, and we created magic again, and we had the same result with an audience -- although we did make a little more money on that one.
你知道,這是亞瑟克拉克的定律, 任何全然先進的科技都與魔法無異。 他們見到一些神奇的事物, 這令我很興奮。 而我想: "嘩! 這是一項值得運用在電影上 的科技。" 所以在接下來的電影"魔鬼終結者2" 中, 我們更進一步與ILM合作, 我們在片中創造了液體金屬怪物, 成功則取決於那個效果 是否能發揮作用。 那個效果真得很好,我們再次創造了魔法, 觀眾的反應還是一樣好, 我們也在這齣電影中賺了多一點的錢。
So, drawing a line through those two dots of experience came to, "This is going to be a whole new world," this was a whole new world of creativity for film artists. So, I started a company with Stan Winston, my good friend Stan Winston, who is the premier make-up and creature designer at that time, and it was called Digital Domain. And the concept of the company was that we would leapfrog past the analog processes of optical printers and so on, and we would go right to digital production. And we actually did that and it gave us a competitive advantage for a while.
把這兩個經驗 結合起來, 可以讓我們看到一個全新的世界, 這是電影藝術 的全新世界。 之後我便和史丹.溫斯頓成立一間公司。 我的好朋友史丹.溫斯頓, 當時是一名頂尖的化妝及怪獸設計師, 我們的公司名叫數碼領域。 公司的理念是要 超越過去 類比光學沖印之類的玩意兒, 直接進入數位製作時代。 而我們的確做到了,還讓我們保持了好一陣子的競爭優勢。
But we found ourselves lagging in the mid '90s in the creature and character design stuff that we had actually founded the company to do. So, I wrote this piece called "Avatar," which was meant to absolutely push the envelope of visual effects, of CG effects, beyond, with realistic human emotive characters generated in CG, and the main characters would all be in CG, and the world would be in CG. And the envelope pushed back, and I was told by the folks at my company that we weren't going to be able to do this for a while.
但在九十年代中期,我們發現自己 在人物和角色設計上落後許多, 那已經脫離了我們當時成立公司的目的。 所以,我寫了一個劇本 "阿凡達", 我要把目前的 視覺效果、 電腦動畫效果推進到極限, 我要用電腦動畫畫出 有真人情感的角色, 所有主角都是由電腦動畫繪製, 背景世界也是以電腦動畫繪製。 但當時的技術做不到, 公司裡的同事們告訴我, 就算再過一段時間也無法做出這些。
So, I shelved it, and I made this other movie about a big ship that sinks. (Laughter) You know, I went and pitched it to the studio as "'Romeo and Juliet' on a ship: "It's going to be this epic romance, passionate film." Secretly, what I wanted to do was I wanted to dive to the real wreck of "Titanic." And that's why I made the movie. (Applause) And that's the truth. Now, the studio didn't know that. But I convinced them. I said, "We're going to dive to the wreck. We're going to film it for real. We'll be using it in the opening of the film. It will be really important. It will be a great marketing hook." And I talked them into funding an expedition. (Laughter)
所以,我把它放回架上,然後做了那齣大船沈向海底的電影。 (笑) 你知道,我把這部片定調為在船上的羅密歐與朱麗葉, 這將會是部史詩般浪漫、 熱情的電影。 其實,我心裡想做的, 是潛入鐵達尼號的殘骸裡, 那就是我拍那部電影的原因。 (鼓掌) 這是事實,電影公司並不知道我的想法, 但我說服他們,我說: 「我們潛入船體殘骸,拍些真實的畫面回來, 把那些畫面當作電影的片頭, 一定要這樣做,因為這是一個很好的賣點。」 我說服他們資助我的這次探險。 (笑)
Sounds crazy. But this goes back to that theme about your imagination creating a reality. Because we actually created a reality where six months later, I find myself in a Russian submersible two and a half miles down in the north Atlantic, looking at the real Titanic through a view port. Not a movie, not HD -- for real. (Applause)
聽起來很瘋狂,但這和我剛才所講的一樣, 你的想像力可以創造出真實的東西, 而我們真的創造出真實的東西。在六個月之後, 我乘坐俄羅斯的潛艇, 來到北大西洋海平面四公尺以下的海裡, 從舷窗裡看著真實的鐵達尼號, 那不是電影、也不是高畫質影像,那是真實的鐵達尼號。 (鼓掌)
Now, that blew my mind. And it took a lot of preparation, we had to build cameras and lights and all kinds of things. But, it struck me how much this dive, these deep dives, was like a space mission. You know, where it was highly technical, and it required enormous planning. You get in this capsule, you go down to this dark hostile environment where there is no hope of rescue if you can't get back by yourself. And I thought like, "Wow. I'm like, living in a science fiction movie. This is really cool."
那震撼了我! 我們要做很多準備,我們要架設攝影機、 燈光及其他所有的東西, 但這些深海潛水, 更令我吃驚, 因為要潛入海底,就像要去太空一樣, 是高科技, 需要龐大的計劃。 你進入潛水艙裡,下到這個漆黑的、 不熟悉的環境裡, 如果自己不能返回陸地, 也沒有人會來救你。 我想: "嘩,我像是 活在科幻電影中, 這真的很酷!"
And so, I really got bitten by the bug of deep-ocean exploration. Of course, the curiosity, the science component of it -- it was everything. It was adventure, it was curiosity, it was imagination. And it was an experience that Hollywood couldn't give me. Because, you know, I could imagine a creature and we could create a visual effect for it. But I couldn't imagine what I was seeing out that window. As we did some of our subsequent expeditions, I was seeing creatures at hydrothermal vents and sometimes things that I had never seen before, sometimes things that no one had seen before, that actually were not described by science at the time that we saw them and imaged them.
我愛上了深海探險, 這裡面充滿好奇及科學的原素, 包含了一切。這是一種探險、 好奇心及想像力, 這是好萊塢所不能 給我的經驗。 因為你知道,我可以想像出一個生物, 也可以為它創造出視覺效果,但我卻想像不出我在海底 所看到的生物。 當我們後續再進行其他探險時, 我看見有生物在深海溫泉附近活動, 有些是我以前從未看過的, 有些則是以前沒有人看過的, 在我們看到這些生物之前, 還沒有任何科學家描述過那些生物。
So, I was completely smitten by this, and had to do more. And so, I actually made a kind of curious decision. After the success of "Titanic," I said, "OK, I'm going to park my day job as a Hollywood movie maker, and I'm going to go be a full-time explorer for a while." And so, we started planning these expeditions. And we wound up going to the Bismark, and exploring it with robotic vehicles. We went back to the Titanic wreck. We took little bots that we had created that spooled a fiber optic. And the idea was to go in and do an interior survey of that ship, which had never been done. Nobody had ever looked inside the wreck. They didn't have the means to do it, so we created technology to do it.
我被徹底的感動了, 我想要多做幾次深海探險, 所以我做了個令人驚訝的決定。 在鐵達尼號成功後, 我說: "好,我要暫停我在好萊塢 的拍片工作, 這段時間,我要做一個全職探險家。" 因此,我們開始計劃 這些探險。 我們很興奮地去找俾斯麥號, 用機械機具進行探索。 我們回到鐵達尼號的殘骸, 我們用自己製造的小機器人, 將它捲在光纖上, 把這個機器放進船艙裡, 探索船內的情況,這是從來沒有人做過的。 沒有人看過殘骸裡的情況,沒有適當的工具可用, 直到我們發明了這項科技。
So, you know, here I am now, on the deck of Titanic, sitting in a submersible, and looking out at planks that look much like this, where I knew that the band had played. And I'm flying a little robotic vehicle through the corridor of the ship. When I say, "I'm operating it," but my mind is in the vehicle. I felt like I was physically present inside the shipwreck of Titanic. And it was the most surreal kind of deja vu experience I've ever had, because I would know before I turned a corner what was going to be there before the lights of the vehicle actually revealed it, because I had walked the set for months when we were making the movie. And the set was based as an exact replica on the blueprints of the ship.
現在我在鐵達尼號的甲板上, 坐在潛艇中, 看著外面的地板, 我知道有樂隊曾在這裡演奏過。 而我控制著一個小機具, 讓它穿過船的走廊, 當我說我在操作它時, 我的心其實是在機具裡。 我感覺有如置身在 鐵達尼號的殘骸中, 這是我從未有過的一種超現實、 又似曾相識的經驗, 在機具轉過某個轉角之前, 在機具的燈光照射到某樣東西之前, 我就已經知道那裡會有什麼, 因為我在拍攝電影的幾個月時間裡, 就曾走過這場景無數次。 我們是根據鐵達尼號的設計圖 複製出電影場景,
So, it was this absolutely remarkable experience. And it really made me realize that the telepresence experience -- that you actually can have these robotic avatars, then your consciousness is injected into the vehicle, into this other form of existence. It was really, really quite profound. And it may be a little bit of a glimpse as to what might be happening some decades out as we start to have cyborg bodies for exploration or for other means in many sort of post-human futures that I can imagine, as a science fiction fan.
所以這絕對是一個前所未有的經驗。 這確實使我瞭解到, 這種遠程遙控科技 可以讓你遙控機具, 也可以將你的意識注入於機具之中, 讓你以其他方式存在。 這對我產生了非常深刻的影響, 而我們或許可以從這裡看出幾十年後 可能的發展, 那時我們可能會開發出半機械人的身體, 用來探險或當其他工具使用, 這是我這個科幻迷 所能想像到的 後人類時期 的未來。
So, having done these expeditions, and really beginning to appreciate what was down there, such as at the deep ocean vents where we had these amazing, amazing animals -- they're basically aliens right here on Earth. They live in an environment of chemosynthesis. They don't survive on sunlight-based system the way we do. And so, you're seeing animals that are living next to a 500-degree-Centigrade water plumes. You think they can't possibly exist.
在做了這些探險之後, 我真的開始欣賞海底的世界, 例如在深海裡的火山口, 那裡有著稀奇古怪的動物, 牠們可以算是地球上的異形, 牠們生活在化學合成的環境中, 牠們不像我們一樣 需要陽光才能生存。 而且,你會見到生活在攝氏五百度 水蒸氣附近 的生物, 你絕對不認為牠們能夠生存。
At the same time I was getting very interested in space science as well -- again, it's the science fiction influence, as a kid. And I wound up getting involved with the space community, really involved with NASA, sitting on the NASA advisory board, planning actual space missions, going to Russia, going through the pre-cosmonaut biomedical protocols, and all these sorts of things, to actually go and fly to the international space station with our 3D camera systems. And this was fascinating. But what I wound up doing was bringing space scientists with us into the deep. And taking them down so that they had access -- astrobiologists, planetary scientists, people who were interested in these extreme environments -- taking them down to the vents, and letting them see, and take samples and test instruments, and so on.
但同時, 我也對太空科技產生了極大的興趣, 這同樣是受到我孩提時代著迷於科幻的影響。 我興奮地參與 太空社團的活動, 也真的加入太空總署, 成為太空總署諮詢委員會的一員, 規劃真正的太空任務、 去了俄羅斯、參與前太空人的 生化醫學協議的制訂 等其他類似的事情, 然後帶著我們的3D攝影機, 飛往國際太空站。 這實在太棒了! 但讓我最興奮的,是帶著這些太空科學家 與我們一同進入深海, 原本他們的工作是 天文生物學家、星際科學家, 所以他們本來就對極端環境很感興趣, 我把他們帶到火山口,讓他們看看, 還讓他們蒐集樣本、攜帶測試器材等等。
So, here we were making documentary films, but actually doing science, and actually doing space science. I'd completely closed the loop between being the science fiction fan, you know, as a kid, and doing this stuff for real. And you know, along the way in this journey of discovery, I learned a lot. I learned a lot about science. But I also learned a lot about leadership. Now you think director has got to be a leader, leader of, captain of the ship, and all that sort of thing.
雖然我們是在拍攝紀錄片, 但事實上我們是在研究科學, 也在研究太空科學。 我完全把孩提時代 的科幻迷, 和真實的科學研究 結合在一起。 一路走來, 在探險的旅途中, 我學會很多, 我學會很多有關科學的事情, 也學會很多關於領導的事情。 你以為導演就一定是一個領袖, 好像船長一樣,領導所有的事情。
I didn't really learn about leadership until I did these expeditions. Because I had to, at a certain point, say, "What am I doing out here? Why am I doing this? What do I get out of it?" We don't make money at these damn shows. We barely break even. There is no fame in it. People sort of think I went away between "Titanic" and "Avatar" and was buffing my nails someplace, sitting at the beach. Made all these films, made all these documentary films for a very limited audience.
我不曾學過領導, 直到我進行這些探險之後, 我才發現,有時我必須自問: "我現在在這裡幹什麼呢? 為什麼我要這樣做呢?我能得到些什麼呢?" 我們拍的紀錄片不能賺錢, 只是勉強打平而已,也不能從中獲取名聲, 人們大概以為, 我在拍"鐵達尼號"與"阿凡達"中間躲了起來, 坐在海灘,咬著手指。 我們所拍的所有紀錄片, 只有一小部分觀眾會看,
No fame, no glory, no money. What are you doing? You're doing it for the task itself, for the challenge -- and the ocean is the most challenging environment there is -- for the thrill of discovery, and for that strange bond that happens when a small group of people form a tightly knit team. Because we would do these things with 10, 12 people, working for years at a time, sometimes at sea for two, three months at a time.
沒有名聲、沒有榮耀、沒有金錢,我究竟在做什麼? 我是為了任務本身、 為了挑戰而拍片 -- 海洋是最具挑戰的環境; 因為想體驗發現後的顫慄, 更因為想體驗由一小群人組成的緊密團體中, 所形成的那種奇特的氛圍。 因為我們可以與十至十二人 一起工作個幾年, 有時則在海裡待上兩三個月的時間,
And in that bond, you realize that the most important thing is the respect that you have for them and that they have for you, that you've done a task that you can't explain to someone else. When you come back to the shore and you say, "We had to do this, and the fiber optic, and the attentuation, and the this and the that, all the technology of it, and the difficulty, the human-performance aspects of working at sea," you can't explain it to people. It's that thing that maybe cops have, or people in combat that have gone through something together and they know they can never explain it. Creates a bond, creates a bond of respect.
因此會產生的緊密的情感, 而最重要的事情是 你對他們的尊重, 和他們對你的尊重,以及別人無法瞭解 你所完成的工作的那種感覺。 當你回到岸上,你會說: 我們得做這個,那個光纖,那個溶劑, 這些和那些, 這當中所有的科技,以及人類在海裡 工作的困難度, 你都很難讓別人瞭解。這種感覺就只有 警察或曾在一起參與戰爭的人,才會瞭解, 而他們也知道無法向別人解釋這種感覺。 這是一種緊密的情感聯繫,一種互敬的關係。
So, when I came back to make my next movie, which was "Avatar," I tried to apply that same principle of leadership, which is that you respect your team, and you earn their respect in return. And it really changed the dynamic. So, here I was again with a small team, in uncharted territory, doing "Avatar," coming up with new technology that didn't exist before. Tremendously exciting. Tremendously challenging. And we became a family, over a four-and-half year period. And it completely changed how I do movies. So, people have commented on how, "Well, you know, you brought back the ocean organisms and put them on the planet of Pandora." To me, it was more of a fundamental way of doing business, the process itself, that changed as a result of that.
所以當我回來拍攝我的下一部電影時, 也就是 "阿凡達", 我嘗試使用相同的領導原則, 也就是尊重你的團隊, 你就會贏得他們的尊重, 這的確會改變我們的相處模式。 我再一次與一個小團隊 踏上未知的領土, 拍攝"阿凡達",以前所未有的 新科技來拍攝。 真是超級興奮, 也超級具有挑戰性! 在超過四年半的時間裡,我們成了一個家庭, 我拍攝電影的方法也完全改變。 人們批評的重點是, 我只不過是把海洋生物 放在潘朵拉的星球裡罷了。 但對我來說,改變的不僅是電影本身, 而是拍電影的過程也一併改變了。
So, what can we synthesize out of all this? You know, what are the lessons learned? Well, I think number one is curiosity. It's the most powerful thing you own. Imagination is a force that can actually manifest a reality. And the respect of your team is more important than all the laurels in the world. I have young filmmakers come up to me and say, "Give me some advice for doing this." And I say, "Don't put limitations on yourself. Other people will do that for you -- don't do it to yourself, don't bet against yourself, and take risks."
那麼,我們該怎麼把這所有的東西綜合起來? 我們又從中學到什麼教訓? 嗯,我想第一是 好奇心。 這是你所擁有最具威力的東西。 想像力也是一種力量, 它可以讓我們在現實生活中創造東西。 而你對團隊的尊重, 比世上所有的榮耀 都來得重要。 有一些年輕的電影導演 前來找我說: "可以給我一些建議嗎?" 我說: "不要侷限你自己。 其他人會為你設限,你自己可別畫地自限。 要對自己有信心, 勇於冒險。"
NASA has this phrase that they like: "Failure is not an option." But failure has to be an option in art and in exploration, because it's a leap of faith. And no important endeavor that required innovation was done without risk. You have to be willing to take those risks. So, that's the thought I would leave you with, is that in whatever you're doing, failure is an option, but fear is not. Thank you. (Applause)
太空總署有一句話是這樣的: "失敗不是你的選項。" 但失敗卻是藝術家和 探險家的選項,因為那可以幫助我們建立信心。 沒有任何一件 需要創新的事, 是沒有風險的。 你必得要冒險。 所以,我要告訴各位, 無論你做什麼, 都有可能會失敗, 但你絕不能畏懼。謝謝。 (鼓掌)