ABOUT THE SPEAKER
Andrew Stanton - Filmmaker
Andrew Stanton has made you laugh and cry. The writer behind the three "Toy Story" movies and the writer/director of "WALL-E," he releases his new film, "John Carter," in March.

Why you should listen

Andrew Stanton wrote the first film produced entirely on a computer, Toy Story. But what made that film a classic wasn't the history-making graphic technology -- it's the story, the heart, the characters that children around the world instantly accepted into their own lives. Stanton wrote all three Toy Story movies at Pixar Animation Studios, where he was hired in 1990 as the second animator on staff. He has two Oscars, as the writer-director of Finding Nemo and WALL-E. And as Edgar Rice Burroughs nerds, we're breathlessly awaiting the March opening of his fantasy-adventure movie John Carter.

More profile about the speaker
Andrew Stanton | Speaker | TED.com
TED2012

Andrew Stanton: The clues to a great story

安德魯史丹頓(Andrew Stanton): 一個偉大故事的端倪

Filmed:
4,201,482 views

電影製作人安德魯史丹頓("玩具總動員"(Toy Story)、"機器人瓦力"(WALL-E))分享他對說故事的經驗 -- 以從結尾開始回到起點的方式。(包含圖像語言...)
- Filmmaker
Andrew Stanton has made you laugh and cry. The writer behind the three "Toy Story" movies and the writer/director of "WALL-E," he releases his new film, "John Carter," in March. Full bio

Double-click the English transcript below to play the video.

00:15
A tourist遊客 is backpacking背包
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安德魯史丹頓:一名背包客
00:17
through通過 the highlands高地 of Scotland蘇格蘭,
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在蘇格蘭高地旅遊,
00:19
and he stops停止 at a pub酒館 to get a drink.
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在一家酒館停下來喝一杯。
00:21
And the only people in there is a bartender酒保
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那裡只有酒保
00:23
and an old man nursing看護 a beer啤酒.
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和一位喝著啤酒的老人家。
00:25
And he orders命令 a pint品脫, and they sit in silence安靜 for a while.
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背包客點了杯啤酒,他們默默然坐了一會。
00:27
And suddenly突然 the old man turns to him and goes,
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忽然間,老人家轉向他說,
00:29
"You see this bar酒吧?
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"看到這家酒吧嗎?
00:31
I built內置 this bar酒吧 with my bare hands
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我用上全縣最好的木材
00:33
from the finest最好的 wood in the county.
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憑雙手建成這家酒吧。
00:35
Gave it more love and care關心 than my own擁有 child兒童.
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給它比給我兒子更多的愛和關心。
00:38
But do they call me MacGregor麥格雷戈 the bar酒吧 builder建設者? No."
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但他們會稱呼我酒吧建造者MacGregor嗎?不會。"
00:41
Points out the window窗口.
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指向窗外。
00:43
"You see that stone wall out there?
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"你看見外面那石牆嗎?
00:45
I built內置 that stone wall with my bare hands.
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我赤手築起的石牆。
00:48
Found發現 every一切 stone, placed放置 them just so through通過 the rain and the cold.
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找來每塊石頭,歷盡雨水和寒冷把它們疊起來。
00:51
But do they call me MacGregor麥格雷戈 the stone wall builder建設者? No."
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但他們會稱呼我石牆建造者MacGregor嗎?不會。"
00:54
Points out the window窗口.
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指向窗外。
00:56
"You see that pier碼頭 on the lake out there?
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你看見外面湖邊那碼頭嗎?
00:58
I built內置 that pier碼頭 with my bare hands.
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我赤手築成那碼頭。
01:00
Drove開車 the pilings against反對 the tide浪潮 of the sand, plank by plank.
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迎著浪把樁柱,一枝枝的,打進湖底沙中。
01:04
But do they call me MacGregor麥格雷戈 the pier碼頭 builder建設者? No.
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但他們會稱呼我碼頭建造者MacGregor嗎?不會。
01:08
But you fuck他媽的 one goat山羊 ... "
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但你和一頭羊性交..."
01:11
(Laughter笑聲)
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(笑聲)
01:22
Storytelling評書 --
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說故事 --
01:24
(Laughter笑聲)
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(笑聲)
01:26
is joke玩笑 telling告訴.
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就是說笑話。
01:29
It's knowing會心 your punchline妙處,
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那是知道你的笑點,
01:31
your ending結尾,
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你故事的結局,
01:33
knowing會心 that everything you're saying, from the first sentence句子 to the last,
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知道你所說的一切,從第一到最後的一句話,
01:36
is leading領導 to a singular單數 goal目標,
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都是朝著單一目標,
01:38
and ideally理想 confirming確認 some truth真相
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理想地也確認一些真理
01:41
that deepens加深 our understandings理解
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以加深我們對自己
01:43
of who we are as human人的 beings眾生.
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作為人類的認識。
01:46
We all love stories故事.
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我們都愛聽故事。
01:48
We're born天生 for them.
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我們為它們而來到這個世界。
01:50
Stories故事 affirm確認 who we are.
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故事肯定我們是什麼的人。
01:52
We all want affirmations肯定 that our lives生活 have meaning含義.
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我們都想得到生命是有意義的肯定。
01:54
And nothing does a greater更大 affirmation肯定
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沒有其他東西可比
01:56
than when we connect through通過 stories故事.
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用故事把我們連結起來帶來更大的肯定。
01:58
It can cross交叉 the barriers障礙 of time,
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它可穿越時間,
02:00
past過去, present當下 and future未來,
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過去、現在和未來的障礙,
02:02
and allow允許 us to experience經驗
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讓我們可透過其他人,
02:04
the similarities相似之處 between之間 ourselves我們自己
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真實的或想像的,
02:06
and through通過 others其他, real真實 and imagined想像.
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去感受彼此的異同。
02:09
The children's兒童 television電視 host主辦 Mr先生. Rogers羅傑斯
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兒童電視節目主持人Rogers先生
02:12
always carried攜帶的 in his wallet錢包
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在他的錢包裡經常帶著
02:14
a quote引用 from a social社會 worker工人
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社會工作者的一句說話
02:17
that said, "Frankly坦率地說, there isn't anyone任何人 you couldn't不能 learn學習 to love
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它說:"坦白說,當你聽過他們的故事後,
02:20
once一旦 you've heard聽說 their story故事."
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沒有任何人你不能學會去愛他的。"
02:22
And the way I like to interpret that
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我喜歡用來演譯它的方式是
02:24
is probably大概 the greatest最大 story故事 commandment誡命,
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說故事的誡條最重要的
02:29
which哪一個 is "Make me care關心" --
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是"令我關心" --
02:32
please, emotionally感情上,
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請你,在感情上、
02:34
intellectually知性上, aesthetically美學,
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理智上和美學上
02:36
just make me care關心.
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令我關心。
02:38
We all know what it's like to not care關心.
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我們都知道毫不在乎是怎樣的。
02:40
You've gone走了 through通過 hundreds數以百計 of TV電視 channels渠道,
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你逐一頻道地
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just switching交換 channel渠道 after channel渠道,
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轉換了數百個電視頻道,
02:45
and then suddenly突然 you actually其實 stop on one.
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然後突然停在某一頻道上。
02:47
It's already已經 halfway over,
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它已播放了一半,
02:49
but something's什麼是 caught抓住 you and you're drawn in and you care關心.
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但有些東西吸引到你令你關心。
02:52
That's not by chance機會,
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這並非偶然,
02:54
that's by design設計.
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而是經過精心設計的。
02:56
So it got me thinking思維, what if I told you my history歷史 was story故事,
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這令我反省,如果我把要告訴你我的歷史作為故事,
03:00
how I was born天生 for it,
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我如何為它來到這個世界,
03:02
how I learned學到了 along沿 the way this subject學科 matter?
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如何在過程中不斷學習這個題材?
03:05
And to make it more interesting有趣,
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為使它更有趣,
03:07
we'll start開始 from the ending結尾
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我會從結局開始
03:09
and we'll go to the beginning開始.
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然後回到起點。
03:11
And so if I were going to give you the ending結尾 of this story故事,
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如果我要先給你這個故事的結局,
03:14
it would go something like this:
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它會是像這樣:
03:16
And that's what ultimately最終 led me
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這亦是最終令我
03:18
to speaking請講 to you here at TEDTED
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在TED這裡
03:20
about story故事.
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說給各位聽的故事。
03:23
And the most current當前 story故事 lesson that I've had
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我最近的故事課是
03:26
was completing完成 the film電影 I've just doneDONE
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剛在今年2012
03:28
this year in 2012.
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完成那一部電影。
03:30
The film電影 is "John約翰 Carter卡特." It's based基於 on a book called "The Princess公主 of Mars火星,"
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電影名叫"異星爭霸戰:尊卡特傳奇"(John Carter)。它根據Edgar Rice Burroughs所寫
03:33
which哪一個 was written書面 by Edgar埃德加 Rice白飯 Burroughs巴勒斯.
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一本叫"火星公主"(The Princess of Mars")的書拍成。
03:35
And Edgar埃德加 Rice白飯 Burroughs巴勒斯 actually其實 put himself他自己
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Edgar Rice Burroughs 亦在電影內
03:38
as a character字符 inside this movie電影, and as the narrator敘述者.
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扮演一個角色和擔任旁白。
03:41
And he's summoned傳喚 by his rich豐富 uncle叔叔, John約翰 Carter卡特, to his mansion大廈
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他富有的叔叔,尊卡特,發電報傳召他去他的豪宅
03:44
with a telegram電報 saying, "See me at once一旦."
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電報上說,"立刻前來見我。"
03:46
But once一旦 he gets得到 there,
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當他去到那裡,
03:48
he's found發現 out that his uncle叔叔 has mysteriously神秘 passed通過 away
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他發現叔叔神秘地去世了
03:52
and been entombed埋葬 in a mausoleum on the property屬性.
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被埋在自有的陵墓內
03:56
(Video視頻) Butler男管家: You won't慣於 find a keyhole鎖孔.
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(影片)管家:你不會找到匙孔的。
03:58
Thing only opens打開 from the inside.
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它只能從裡面打開。
04:01
He insisted堅持,
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他堅持,
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no embalming防腐, no open打開 coffin棺材,
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不做防腐處理,不開棺,
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no funeral葬禮.
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不舉行葬禮。
04:07
You don't acquire獲得 the kind of wealth財富 your uncle叔叔 commanded指揮
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如果是像我們一樣的人
04:09
by being存在 like the rest休息 of us, huh?
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你不會得到你叔叔支配的那樣的財富,是吧?
04:12
Come, let's go inside.
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來,我們進去看看。
04:33
AS: What this scene現場 is doing, and it did in the book,
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這一幕,在書中也同樣出現,有什麼目的呢?
04:35
is it's fundamentally從根本上 making製造 a promise諾言.
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它基本上是作出一個承諾。
04:37
It's making製造 a promise諾言 to you
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它向你作出一個承諾
04:39
that this story故事 will lead somewhere某處 that's worth價值 your time.
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故事會領你到某處理值得你花時間的地方。
04:41
And that's what all good stories故事 should do at the beginning開始, is they should give you a promise諾言.
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這是所有優秀故事開始時都應做的,給你一個承諾。
04:44
You could do it an infinite無窮 amount of ways方法.
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你可有無盡的方法去做。
04:46
Sometimes有時 it's as simple簡單 as "Once一旦 upon a time ... "
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有時只是簡單地"很久以前..."
04:50
These Carter卡特 books圖書 always had Edgar埃德加 Rice白飯 Burroughs巴勒斯 as a narrator敘述者 in it.
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這些卡特的書裡面都有Edgar Rice Burroughs 作為旁白。
04:53
And I always thought it was such這樣 a fantastic奇妙 device設備.
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我經常覺得這是一個很棒的工具。
04:55
It's like a guy inviting誘人的 you around the campfire營火,
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就像有人邀請你加入營火晚會,
04:58
or somebody in a bar酒吧 saying, "Here, let me tell you a story故事.
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或酒吧中有人說,"讓我給你說個故事。
05:01
It didn't happen發生 to me, it happened發生 to somebody else其他,
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它並非發生在我身上,而是在另一個人身上,
05:03
but it's going to be worth價值 your time."
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但它值得你花時間聽聽。"
05:05
A well told promise諾言
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一個說得好的承諾
05:07
is like a pebble卵石 being存在 pulled back in a slingshot彈弓
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就像拉彈弓的石子
05:11
and propels推動 you forward前鋒 through通過 the story故事
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並推動你前進
05:13
to the end結束.
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直至故事的結局。
05:15
In 2008,
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2008年,
05:17
I pushed all the theories理論 that I had on story故事 at the time
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我把當時對故事的所有理論
05:20
to the limits範圍 of my understanding理解 on this project項目.
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在這項目上推到我能理解的極限
05:23
(Video視頻) (Mechanical機械 Sounds聲音)
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(影片)(機械音響)
05:53
♫ And that is all ♫
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♫這就是♫
05:58
♫ that love's愛的 about ♫
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♫愛的意義♫
06:04
♫ And we'll recall召回
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♫我們會♫
06:09
♫ when time runs運行 out ♫
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♫在時間消逝後♫
06:17
♫ That it only ♫
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♫記得它♫
06:24
(Laughter笑聲)
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(笑聲)
06:26
AS: Storytelling評書 without dialogue對話.
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沒有對話地說故事。
06:28
It's the purest最純淨的 form形成 of cinematic電影 storytelling評書.
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這是電影式說故事的最純粹的形式。
06:30
It's the most inclusive包括的 approach途徑 you can take.
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它是你可採用最包容的方式。
06:33
It confirmed確認 something I really had a hunch直覺 on,
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它印證了我真的有預感的一些東西,
06:35
is that the audience聽眾
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就是觀眾
06:37
actually其實 wants to work for their meal膳食.
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實際想參與準備他們的食物。
06:39
They just don't want to know that they're doing that.
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他們只是不想知道自己在做那些工作。
06:42
That's your job工作 as a storyteller說故事的人,
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那是你作為說故事者的任務,
06:44
is to hide隱藏 the fact事實
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就是隱瞞
06:46
that you're making製造 them work for their meal膳食.
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你令他們自己準備食物的事實。
06:48
We're born天生 problem問題 solvers求解.
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我們是天生解決問題的人。
06:50
We're compelled被迫 to deduce推斷
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我們被迫演譯
06:52
and to deduct扣除,
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和歸納,
06:54
because that's what we do in real真實 life.
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因為這正是我們在現實生活所做的。
06:56
It's this well-organized四平八穩 absence缺席 of information信息
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正是這種有組織的信息不足
06:59
that draws us in.
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把我們拉進去。
07:01
There's a reason原因 that we're all attracted吸引 to an infant嬰兒 or a puppy小狗.
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我們被嬰兒或小狗吸引是有原因的。
07:04
It's not just that they're damn該死的 cute可愛;
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不單是因他們可愛;
07:06
it's because they can't completely全然 express表現
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而是他們不能完全表達
07:09
what they're thinking思維 and what their intentions意圖 are.
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他們的想法和動機。
07:11
And it's like a magnet磁鐵.
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它像一塊磁鐵。
07:13
We can't stop ourselves我們自己
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我們無法阻止自己
07:15
from wanting希望 to complete完成 the sentence句子 and fill it in.
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要完成句子和填上去。
07:17
I first started開始
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我首次開始
07:19
really understanding理解 this storytelling評書 device設備
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真正明白說故事的工具
07:21
when I was writing寫作 with Bob短發 Peterson彼得森 on "Finding查找 Nemo尼莫."
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是在我和Bob Peterson寫"海底總動員(Finding Nemo)"的時候。
07:23
And we would call this the unifying統一 theory理論 of two plus two.
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我們稱之為二加二的統一理論。
07:26
Make the audience聽眾 put things together一起.
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使觀眾把東西放在一起。
07:28
Don't give them four,
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不要把四給他們,
07:30
give them two plus two.
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給他們二加二。
07:32
The elements分子 you provide提供 and the order訂購 you place地點 them in
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你提供的元素和編排它們的次序
07:35
is crucial關鍵 to whether是否 you succeed成功 or fail失敗 at engaging the audience聽眾.
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對你能否成功引起觀眾投入起關鍵作用。
07:38
Editors編者 and screenwriters編劇 have known已知 this all along沿.
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編輯和編劇們一直都知道這點。
07:41
It's the invisible無形 application應用
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它無形的應用
07:43
that holds持有 our attention注意 to story故事.
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吸引我們對故事的關注。
07:45
I don't mean to make it sound聲音
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我不是要它聽起來
07:47
like this is an actual實際 exact精確 science科學, it's not.
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像是精確科學,它不是。
07:50
That's what's so special特別 about stories故事,
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這是為何故事那麼特別,
07:52
they're not a widget小部件, they aren't exact精確.
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它們不是零件,它們並不精確。
07:55
Stories故事 are inevitable必然, if they're good,
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好的故事是不可抗拒的,
07:57
but they're not predictable可預測.
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但它們是難以預測的。
07:59
I took a seminar研討會 in this year
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我今年參加了
08:02
with an acting演戲 teacher老師 named命名 Judith朱迪思 Weston韋斯頓.
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表演老師Judith Weston的一個研討會。
08:05
And I learned學到了 a key insight眼光 to character字符.
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我學到了對角色的一個見解。
08:07
She believed相信 that all well-drawn精心繪製 characters人物
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她相信所有出色的角色
08:10
have a spine脊柱.
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都是有骨幹的。
08:12
And the idea理念 is that the character字符 has an inner motor發動機,
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意思是角色有一副內在的發動機
08:14
a dominant優勢, unconscious無意識 goal目標 that they're striving努力 for,
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他們所追求的一個主導性、沒意識的目標,
08:17
an itch that they can't scratch.
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一個他們搔不著的癢處。
08:19
She gave a wonderful精彩 example of Michael邁克爾 Corleone柯里昂,
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她舉了很好的例子,就是"教父"中Michael Corleone,
08:21
Al Pacino's帕西諾的 character字符 in "The Godfather教父,"
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是Al Pacino飾演的角色,
08:23
and that probably大概 his spine脊柱
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他們骨幹很可能
08:25
was to please his father父親.
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就是討好他的父親。
08:27
And it's something that always drove開車 all his choices選擇.
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那一直驅動著他所有的選擇。
08:29
Even after his father父親 died死亡,
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即使他父親去世後,
08:31
he was still trying to scratch that itch.
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他還不斷依循這個思維
08:35
I took to this like a duck to water.
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這令我如魚得水。
08:38
Wall-E'sWALL-E的 was to find the beauty美女.
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在Wall-E中是美的追求。
08:41
Marlin's馬林的, the father父親 in "Finding查找 Nemo尼莫,"
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在"海底總動員"中,父親Marlin,
08:44
was to prevent避免 harm危害.
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是要避開傷害。
08:47
And Woody's伍迪 was to do what was best最好 for his child兒童.
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而“玩具總動員(Toy Story)”中Woody是要做對小孩最好的事。
08:50
And these spines don't always drive駕駛 you to make the best最好 choices選擇.
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但這些骨幹不一定驅使你作出最佳的選擇。
08:53
Sometimes有時 you can make some horrible可怕 choices選擇 with them.
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有時你可作出可怕的選擇。
08:56
I'm really blessed幸福 to be a parent,
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我其的很幸運能作為一名家長,
08:58
and watching觀看 my children孩子 grow增長, I really firmly牢牢 believe
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看著孩子成長,我真的堅信
09:01
that you're born天生 with a temperament氣質 and you're wired有線 a certain某些 way,
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你生與俱來某氣質和特定想法,
09:04
and you don't have any say about it,
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你是無權過問的,
09:07
and there's no changing改變 it.
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亦無法改變的。
09:09
All you can do is learn學習 to recognize認識 it
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你只可學會認識它
09:12
and own擁有 it.
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和擁有之。
09:15
And some of us are born天生 with temperaments性情 that are positive,
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有些人生與俱來正面的氣質,
09:17
some are negative.
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有些是負面的。
09:19
But a major重大的 threshold is passed通過
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但當你夠成熟
09:22
when you mature成熟 enough足夠
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去承認是什麼驅使你
09:24
to acknowledge確認 what drives驅動器 you
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並去操控它時
09:26
and to take the wheel and steer駕駛 it.
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你就通過了一個重要的門檻。
09:28
As parents父母, you're always learning學習 who your children孩子 are.
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作為父母,你總是在了解你的孩子。
09:31
They're learning學習 who they are.
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他們也在了解自己。
09:33
And you're still learning學習 who you are.
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而你亦仍在了解自己。
09:35
So we're all learning學習 all the time.
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所以我們無時無刻都在學習了解。
09:38
And that's why change更改 is fundamental基本的 in story故事.
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這是為何改變是故事的基礎。
09:41
If things go static靜態的, stories故事 die,
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如果事物靜止,故事就失去生命,
09:43
because life is never static靜態的.
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因為生活永不靜止。
09:46
In 1998,
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1998年,
09:48
I had finished writing寫作 "Toy玩具 Story故事" and "A Bug's錯誤的 Life"
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我寫完"玩具總動員(Toy Story)"和"蟲蟲特攻隊(A Bug's Life)"之後
09:50
and I was completely全然 hooked迷上 on screenwriting編劇.
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我完全迷上了編劇。
09:52
So I wanted to become成為 much better at it and learn學習 anything I could.
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所以我想做得更好而盡我所能去學習。
09:55
So I researched研究 everything I possibly或者 could.
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我盡我所能去研究一切。
09:58
And I finally最後 came來了 across橫過 this fantastic奇妙 quote引用
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最後我遇到這奇妙的佳句
10:00
by a British英國的 playwright劇作家, William威廉 Archer射手:
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英國劇作家 William Archer 所說的:
10:03
"Drama戲劇 is anticipation預期
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"戲劇是預期
10:05
mingled混到 with uncertainty不確定."
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夾雜著不明朗。"
10:07
It's an incredibly令人難以置信 insightful見地 definition定義.
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這是一個令人難以置信的精闢定義。
10:10
When you're telling告訴 a story故事,
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當你說故事時,
10:12
have you constructed anticipation預期?
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有沒有建立期待?
10:14
In the short-term短期, have you made製作 me want to know
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短暫地,你有沒有令我想要知道
10:16
what will happen發生 next下一個?
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接下來會發生什麼?
10:18
But more importantly重要的,
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但更重要的是,
10:20
have you made製作 me want to know
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你有沒有令我想要知道
10:22
how it will all conclude得出結論 in the long-term長期?
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它長期的結局?
10:24
Have you constructed honest誠實 conflicts衝突
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你有沒有透過事實真相
10:26
with truth真相 that creates創建 doubt懷疑
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建立誠實的衝突
10:28
in what the outcome結果 might威力 be?
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創造對可能出現的結果產生的懷疑?
10:30
An example would be in "Finding查找 Nemo尼莫,"
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在"海底總動員(Finding Nemo)"有個例子,
10:32
in the short tension張力, you were always worried擔心,
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在短期中,你總是擔心
10:34
would Dory'sDory的 short-term短期 memory記憶
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Dory的短暫記憶
10:36
make her forget忘記 whatever隨你 she was being存在 told by Marlin馬林.
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會否令他忘記Marlin對她說過的話。
10:38
But under that was this global全球 tension張力
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但在這之下是
10:40
of will we ever find Nemo尼莫
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能否在浩瀚的大海中
10:42
in this huge巨大, vast廣大 ocean海洋?
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找到Nemo的整體張力。
10:44
In our earliest最早 days at Pixar皮克斯,
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我們早期在皮克斯工作室時,
10:46
before we truly understood了解 the invisible無形 workings運作 of story故事,
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在我們真正了解故事的無形運作前,
10:49
we were simply只是 a group of guys just going on our gut腸道, going on our instincts本能.
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我們簡單地只是一群靠直覺和本能去做的人。
10:52
And it's interesting有趣 to see
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有趣的是
10:54
how that led us places地方
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這引領我們
10:56
that were actually其實 pretty漂亮 good.
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去到實際相當不錯的位置。
10:58
You've got to remember記得 that in this time of year,
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你要記住在每年的這個時候,
11:01
1993,
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在1993年那時,
11:03
what was considered考慮 a successful成功 animated動畫 picture圖片
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被視為成功的動畫
11:06
was "The Little Mermaid美人魚," "Beauty美女 and the Beast,"
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是"小美人魚(The Little Mermaid)","美女與野獸(Beauty and the Beast)",
11:09
"Aladdin阿拉丁," "Lion獅子 King國王."
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"阿拉丁(Aladdin)","獅子王(Lion King)"。
11:11
So when we pitched傾斜的 "Toy玩具 Story故事" to Tom湯姆 Hanks漢克斯 for the first time,
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當我們首次向Tom Hanks推薦"玩具總動員"時,
11:14
he walked in and he said,
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他走進來說,
11:16
"You don't want me to sing, do you?"
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"你們不是要我唱歌吧?"
11:18
And I thought that epitomized集中體現 perfectly完美
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我想這完美地概括了
11:20
what everybody每個人 thought animation動畫 had to be at the time.
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當時人們對動畫的想法。
11:23
But we really wanted to prove證明
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但我們真的想證明
11:25
that you could tell stories故事 completely全然 different不同 in animation動畫.
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你可在動畫中用完全不同的方法去說故事。
11:28
We didn't have any influence影響 then,
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我們那時並無任何影響力,
11:30
so we had a little secret秘密 list名單 of rules規則
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所以我們有一份我們自己的
11:32
that we kept不停 to ourselves我們自己.
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祕密的規則。
11:34
And they were: No songs歌曲,
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那是:沒有歌曲,
11:37
no "I want" moment時刻,
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沒有"我想"時刻,
11:39
no happy快樂 village,
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沒有快樂村莊,
11:41
no love story故事.
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沒有愛情故事。
11:43
And the irony諷刺 is that, in the first year,
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諷刺的是,在第一年裡,
11:45
our story故事 was not working加工 at all
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我們的故事完全不行
11:47
and Disney迪士尼 was panicking恐慌.
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迪士尼恐慌了。
11:49
So they privately私自 got advice忠告
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他們私下詢問
11:52
from a famous著名 lyricist作詞, who I won't慣於 name名稱,
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一位知名的作詞人的意見,我不要說出他的名字,
11:54
and he faxed傳真 them some suggestions建議.
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他傳真了幾項建議。
11:56
And we got a hold保持 of that fax傳真.
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我們拿到了那份傳真。
11:58
And the fax傳真 said,
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傳真說,
12:00
there should be songs歌曲,
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應有歌曲,
12:02
there should be an "I want" song歌曲,
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應有一首"我想"的歌,
12:04
there should be a happy快樂 village song歌曲,
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應有一首快樂村莊的歌,
12:06
there should be a love story故事
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應有一個愛情故事
12:08
and there should be a villain惡棍.
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亦應有一個惡棍。
12:10
And thank goodness善良
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感謝上蒼
12:12
we were just too young年輕, rebellious and contrarian逆勢 at the time.
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我們當時就是太年輕、反叛和相反主義者。
12:15
That just gave us more determination決心
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這給我們更大的決心
12:18
to prove證明 that you could build建立 a better story故事.
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去證明我們可創作一個更好的故事。
12:20
And a year after that, we did conquer征服 it.
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一年之後,我們戰勝了。
12:22
And it just went to prove證明
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它正好證明了
12:24
that storytelling評書 has guidelines方針,
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說故事有指引,
12:26
not hard, fast快速 rules規則.
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但不是硬性的規則。
12:28
Another另一個 fundamental基本的 thing we learned學到了
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我們學會的另一基礎知識是
12:30
was about liking喜歡 your main主要 character字符.
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關於喜愛你的主角的。
12:32
And we had naively天真 thought,
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我們曾幼稚地認為
12:34
well Woody伍迪 in "Toy玩具 Story故事" has to become成為 selfless無私 at the end結束,
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在"玩具總動員"結尾Woody要變得無私,
12:36
so you've got to start開始 from someplace某個地方.
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你便要從某一處開始。
12:38
So let's make him selfish自私. And this is what you get.
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就讓我們先把他寫成自私。就是這樣。
12:41
(Voice語音 Over) Woody伍迪: What do you think you're doing?
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(旁白)Woody:你覺得怎樣?
12:43
Off the bed.
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下床。
12:45
Hey, off the bed!
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喂,下床!
12:47
Mr先生. Potato土豆 Head: You going to make us, Woody伍迪?
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薯頭先生:Woody,你打算把我們趕下床嗎?
12:49
Woody伍迪: No, he is.
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Woody:不,是他。
12:51
Slinky苗條? Slink早產 ... Slinky苗條!
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Slinky?Slink .. Slinky!
12:55
Get up here and do your job工作.
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起來,做你的工作。
12:57
Are you deaf?
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你聾了嗎?
12:59
I said, take care關心 of them.
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我說,處理他們。
13:01
Slinky苗條: I'm sorry, Woody伍迪,
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Slinky:對不起,Woody,
13:03
but I have to agree同意 with them.
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我得要他們的同意。
13:05
I don't think what you did was right.
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我不認為你所做是對的。
13:07
Woody伍迪: What? Am I hearing聽力 correctly正確地?
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Woody:什麼?我沒聽錯吧?
13:10
You don't think I was right?
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你不認為我是對的?
13:12
Who said your job工作 was to think, Spring彈簧 Wiener維納?
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誰說你的工作是思想,Spring Wiener?
13:17
AS: So how do you make a selfish自私 character字符 likable討人喜歡?
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那麼如何令一個自私的角色變得可愛呢?
13:19
We realized實現, you can make him kind,
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我們意識到你可把他變得仁慈、
13:21
generous慷慨, funny滑稽, considerate周到,
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慷慨、風趣、體貼、
13:23
as long as one condition條件 is met會見 for him,
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唯一的條件是
13:25
is that he stays入住 the top最佳 toy玩具.
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他永遠是排於第一位的玩具。
13:27
And that's what it really is,
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這正是事實,
13:29
is that we all live生活 life conditionally有條件的.
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我們都有條件地生活著。
13:31
We're all willing願意 to play by the rules規則 and follow跟隨 things along沿,
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我們願意依循規則
13:33
as long as certain某些 conditions條件 are met會見.
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只要某些條件得到滿足。
13:36
After that, all bets賭注 are off.
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之後,遊戲結束。
13:38
And before I'd even decided決定 to make storytelling評書 my career事業,
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甚至在我決定以說故事作為我的事業前,
13:41
I can now see key things that happened發生 in my youth青年
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我現在可看到在我年輕時發生的關鍵事情
13:43
that really sort分類 of opened打開 my eyes眼睛
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真的令我瞠目
13:45
to certain某些 things about story故事.
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有關故事的一些事情。
13:47
In 1986, I truly understood了解 the notion概念
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在1986年,我真正理解
13:50
of story故事 having a theme主題.
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故事有一個主題這個概念。
13:53
And that was the year that they restored恢復 and re-released重新發布
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正是我們修復和重新發行
13:56
"Lawrence勞倫斯 of Arabia阿拉伯."
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"阿拉伯的勞倫斯(Lawrence of Arabia)"那一年。
13:58
And I saw that thing seven times in one month.
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我在一個月內看了那部戲七次。
14:01
I couldn't不能 get enough足夠 of it.
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我無法得到滿足。
14:03
I could just tell there was a grand盛大 design設計 under it --
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我可以說出背後有宏偉的設計 --
14:06
in every一切 shot射擊, every一切 scene現場, every一切 line.
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每一個鏡頭,每一個埸景,每行對白。
14:08
Yet然而, on the surface表面 it just seemed似乎
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但表面上它看似
14:10
to be depicting描繪 his historical歷史的 lineage血統
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描繪著他的
14:13
of what went on.
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歷史過程。
14:15
Yet然而, there was something more being存在 said. What exactly究竟 was it?
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但那裡還說著更多的東西。究竟是什麼呢?
14:17
And it wasn't until直到, on one of my later後來 viewings看房,
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要去到我看最後一次時,
14:19
that the veil面紗 was lifted取消
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面紗才被揭開來
14:21
and it was in a scene現場 where he's walked across橫過 the Sinai西乃山 Desert沙漠
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是在他橫越西奈沙漠那埸戲
14:24
and he's reached到達 the Suez蘇伊士 Canal運河,
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他走到了蘇伊士運河,
14:26
and I suddenly突然 got it.
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我突然明白了。
14:33
(Video視頻) Boy男孩: Hey! Hey! Hey! Hey!
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(影片)男孩:喂!喂!喂!喂!
14:46
Cyclist騎單車: Who are you?
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騎車的人:你是誰?
14:50
Who are you?
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你是誰?
14:53
AS: That was the theme主題: Who are you?
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這就是主題:你是誰?
14:56
Here were all these seemingly似乎 disparate不同
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這裡是所有這些看似不相干的
14:58
events事件 and dialogues對話
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事件和對話
15:00
that just were chronologically按時間順序 telling告訴 the history歷史 of him,
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只按時間順序說著他的歷史,
15:03
but underneath it was a constant不變,
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但在這下面是一個常數,
15:05
a guideline指南, a road map地圖.
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一個指引,一個路線圖。
15:07
Everything Lawrence勞倫斯 did in that movie電影
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勞倫斯在那部電影所做的一切
15:09
was an attempt嘗試 for him to figure數字 out where his place地點 was in the world世界.
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是企圖為他找出他在世界上的位置。
15:12
A strong強大 theme主題 is always running賽跑 through通過
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總有一個強而有力的主題貫穿著
15:15
a well-told良好的告訴 story故事.
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說得很好的故事。
15:18
When I was five,
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在我五歲的時候,
15:20
I was introduced介紹 to possibly或者 the most major重大的 ingredient成分
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我已接觸到我覺得一個故事應具備
15:23
that I feel a story故事 should have,
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可能是最主要的材料
15:26
but is rarely很少 invoked調用.
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而很少被應用到的。
15:28
And this is what my mother母親 took me to when I was five.
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這是我五歲時媽媽帶我去看的。
15:34
(Video視頻) Thumper桑普: Come on. It's all right.
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(影片)Thumper:來吧,沒問題的。
15:37
Look.
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看。
15:39
The water's水的 stiff僵硬.
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水結冰了。
15:45
Bambi小鹿斑比: YippeeYIPPEE!
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Bambi:喔耶!
15:57
Thumper桑普: Some fun開玩笑,
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Thumper: 想玩嗎
15:59
huh, Bambi小鹿斑比?
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Bambi?
16:02
Come on. Get up.
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來吧。起來吧。
16:04
Like this.
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像這樣。
16:24
Ha ha. No, no, no.
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哈哈。不要,不要,不要。
16:27
AS: I walked out of there
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我走出那裡
16:29
wide-eyed大眼睛 with wonder奇蹟.
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充滿好奇的睜大雙眼。
16:31
And that's what I think the magic魔法 ingredient成分 is,
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這是我認為的神奇材料成分,
16:33
the secret秘密 sauce,
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秘密醬汁,
16:35
is can you invoke調用 wonder奇蹟.
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就是你調用奇蹟。
16:37
Wonder奇蹟 is honest誠實, it's completely全然 innocent無辜.
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奇蹟是誠實,它是完全天真的。
16:39
It can't be artificially人為 evoked誘發.
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它不可能人為地誘發。
16:41
For me, there's no greater更大 ability能力
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對我來說,世上沒有更大的能力
16:43
than the gift禮品 of another另一個 human人的 being存在 giving you that feeling感覺 --
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超過另一個人給予你那種感覺的天賦 --
16:46
to hold保持 them still just for a brief簡要 moment時刻 in their day
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去抓住他們的曰子裡的一段短暫時刻
16:49
and have them surrender投降 to wonder奇蹟.
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把自己順從於奇蹟。
16:51
When it's tapped竊聽, the affirmation肯定 of being存在 alive,
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當它被應用時,作為活著的肯定,
16:54
it reaches到達 you almost幾乎 to a cellular細胞的 level水平.
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它幾乎透入你細胞裡面。
16:57
And when an artist藝術家 does that to another另一個 artist藝術家,
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當一名藝術家施之於另一名藝術家時,
16:59
it's like you're compelled被迫 to pass通過 it on.
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它像強迫你要傳揚出去一樣。
17:01
It's like a dormant休眠 command命令
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它像是沈睡的指令
17:03
that suddenly突然 is activated活性 in you, like a call to Devil's魔鬼 Tower.
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突然被喚醒起來,像造訪魔鬼山(Devil's Tower)一樣。
17:06
Do unto others其他 what's been doneDONE to you.
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把施於你身上的施於其他人。
17:09
The best最好 stories故事 infuse注入 wonder奇蹟.
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最好的故事注入了奇蹟。
17:12
When I was four years年份 old,
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當我四歲的時候,
17:14
I have a vivid生動 memory記憶
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我有一個生動的記憶
17:16
of finding發現 two pinpoint查明 scars傷疤 on my ankle
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在我的腳踝上找到兩個細微的疤痕
17:19
and asking my dad what they were.
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並問我爸爸它們是什麼。
17:21
And he said I had a matching匹配 pair like that on my head,
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他說在我頭上也有匹配的一對像那樣的東西,
17:23
but I couldn't不能 see them because of my hair頭髮.
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但因為我的頭髮遮蓋看不到它們。
17:25
And he explained解釋 that when I was born天生,
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他解釋我出生時
17:27
I was born天生 premature過早,
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並不足月
17:29
that I came來了 out much too early,
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我早產的太快
17:32
and I wasn't fully充分 baked烘烤的;
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並未完全成熟;
17:34
I was very, very sick生病.
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我病得十分厲害。
17:36
And when the doctor醫生 took a look at this yellow黃色 kid孩子 with black黑色 teeth,
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當醫生看了這個黃色,黑色牙齒的嬰孩後,
17:39
he looked看著 straight直行 at my mom媽媽 and said,
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他直望著我媽媽說,
17:41
"He's not going to live生活."
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"他活不成的。"
17:44
And I was in the hospital醫院 for months個月.
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我在醫院住了幾個月,
17:47
And many許多 blood血液 transfusions輸血 later後來,
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輸了很多次血後,
17:49
I lived生活,
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我活了下來,
17:51
and that made製作 me special特別.
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這令我與眾不同。
17:54
I don't know if I really believe that.
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我不知自己是否真的相信這說法。
17:57
I don't know if my parents父母 really believe that,
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我不知我父母是否真的相信,
18:00
but I didn't want to prove證明 them wrong錯誤.
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但我不想去證明他們錯誤。
18:03
Whatever隨你 I ended結束 up being存在 good at,
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無論我最後有什麼成就,
18:06
I would strive努力 to be worthy值得 of the second第二 chance機會 I was given特定.
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我會為值得給予第二次機會而努力。
18:10
(Video視頻) (Crying哭泣)
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(影片)(哭泣)
18:23
Marlin馬林: There, there, there.
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Marlin:那裡,那裡,那裡。
18:26
It's okay, daddy's爸爸的 here.
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沒關係,爸爸在這裡。
18:29
Daddy's爸爸的 got you.
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爸爸找到你了。
18:34
I promise諾言,
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我承諾,
18:36
I will never let anything happen發生 to you, Nemo尼莫.
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我不會再讓任何事情發生在你Nemo身上。
18:40
AS: And that's the first story故事 lesson I ever learned學到了.
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這就是我所上的第一課。
18:44
Use what you know. Draw from it.
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使用你知道的東西。從中抽取使用。
18:46
It doesn't always mean plot情節 or fact事實.
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那不一定意味著情節或事實。
18:48
It means手段 capturing捕獲 a truth真相 from your experiencing經歷 it,
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那意味著從你經驗它時捕捉真理,
18:51
expressing表達 values you personally親自 feel
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表達你個人內心深處
18:54
deep down in your core核心.
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感受到的價值。
18:56
And that's what ultimately最終 led me to speaking請講 to you
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這是最終引領我在今天的TEDTalk這裡
18:58
here at TEDTalkTED演講 today今天.
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和各位說話的原因。
19:00
Thank you.
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謝謝大家
19:02
(Applause掌聲)
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(掌聲)
Translated by Kai Cheong Chan
Reviewed by Joyce Chou

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ABOUT THE SPEAKER
Andrew Stanton - Filmmaker
Andrew Stanton has made you laugh and cry. The writer behind the three "Toy Story" movies and the writer/director of "WALL-E," he releases his new film, "John Carter," in March.

Why you should listen

Andrew Stanton wrote the first film produced entirely on a computer, Toy Story. But what made that film a classic wasn't the history-making graphic technology -- it's the story, the heart, the characters that children around the world instantly accepted into their own lives. Stanton wrote all three Toy Story movies at Pixar Animation Studios, where he was hired in 1990 as the second animator on staff. He has two Oscars, as the writer-director of Finding Nemo and WALL-E. And as Edgar Rice Burroughs nerds, we're breathlessly awaiting the March opening of his fantasy-adventure movie John Carter.

More profile about the speaker
Andrew Stanton | Speaker | TED.com