失敗勵志演講稿(13篇)

第9篇 成功與失敗勵志演講稿

篇一

各位老師，各位同學(xué)，大家好!

成功者的背后必定經(jīng)歷失敗。在經(jīng)歷失敗的同時，他們的眼前擺著兩條路：一條是一蹶不振，喪失信心，這必然是一條失敗之路。而另一條則是重新爬起來，正確看待失敗，那，在前面不遠處，成功以經(jīng)在向你招手。

在這個世界上，從來沒有什么真正的“絕境”。無論黑夜多么漫長，朝陽總會冉冉升起;無論風(fēng)雪怎樣肆虐，春風(fēng)終會緩緩吹拂。其實，無論來自外界的不幸是怎樣的沉重;無論源于自身的災(zāi)難又是如何的巨大;只要我們能有拼搏進取，百折不撓的精神，任何困難都會迎刃而解。

人的一生就好像是一個戰(zhàn)場。常言道：勝敗乃兵家常事。的確在人生的戰(zhàn)場上，失敗隨時隨地都可能盯上你，讓你“全軍覆沒”，對于一個懦夫來說，每一次失敗都是一次精神上的死亡。只有那些不怕失敗，堅持奮戰(zhàn)的人才可以算得上是真正的英雄與強者。失敗并不可怕，在那里跌倒就在哪里爬起。成功也取決于對待失敗的兩種心態(tài)：有人認為失敗是壓力，是壓在頭上足有千斤重的擔(dān)子，讓人永遠都爬不起來。也有人認為失敗是動力，是推動下一次成功的基礎(chǔ)，是邁向成功的階梯。

每一個人從呱呱落地的那一刻開始，手里有的只是和別人一樣的資本。而當走到生命的盡頭，扮演著的卻是社會上各種各樣不同的角色。有的成了富可敵國的富翁，有的卻成了一貧如洗的乞丐;有的成了國家的棟梁之才，有的卻做了偷盜，販毒這些罪惡的勾當——畢竟，人誰無敗?只有不向失敗屈服，不向困難低頭，拼搏進取的才算是真正的勝者。

從古至今，我國涌現(xiàn)了許多通過拼搏進取取得輝煌志士仁人玄奘就是一個典型的例子，他那“不取真經(jīng)不回頭的拼搏進取精神，永遠留在世人心中。漢朝的司馬遷，再游歷了大半中國后，在身心受到重創(chuàng)后，還是在牢里寫下了世界名著——史記。著名的速算大師史豐收在經(jīng)歷了無數(shù)個日日夜夜的刻苦鉆研后，成功的打破了傳統(tǒng)的四則運算法則，創(chuàng)造了從高位算起，不用計算工具，便一口報出答案的快速運算法——他們之間，唯一相同的就是他們從不放棄任何成功的希望，哪怕是一點點。

勝敗輸贏只決定一時，只有不斷的努力，不斷的充實自我，才能成為最后的成功者。

謝謝大家!

第10篇 不過是失敗勵志演講稿范文

我是來自數(shù)碼藝術(shù)系室內(nèi)三班的孟子琪。

琪乃天上的美玉，玉的渾然天成是 他經(jīng)歷了 許多的磨礪，最后才可以如此美麗通透，而家人為我取名子琪，也 正是想 讓我有玉的勇敢與堅強。

從前，有個樵夫，他每天天天上山去砍財，有一天，半路上他 遇到了一個神仙，神仙說我可以給你個 愿望

一個是，一夜之間你可以什么也 不用做就可以成為一個成功的 人

另一個是，你要經(jīng)歷一些，磨礪一些，最后才可以成功。

也許大家一定認為樵夫一定選擇第一種，可是大家錯了，樵夫選了 第二種。

樵夫是這樣 說的：只有滿身經(jīng)歷的人，才是真正成功的 人，失敗并不可怕，可怕的是你沒有任何的經(jīng)歷，什么都沒有，那成功又算什么呢？是啊！樵夫選擇是對的。當一粒沙子變?yōu)檎渲闀r，我 想他 引以為傲的 是他的經(jīng)歷，而不是最后成為珍珠的精彩。因為只有經(jīng)歷才是你這輩子別人無法攀比的財富。

以前，我是個 很膽小的人。對陌生人都很少說話，更別說站在這個演講臺上 說話了，曾經(jīng)我想過要放棄，可有個人告訴我，不可以遇到一點困難就退縮，而且這世界不是每一次機會都可以如期光顧你。更何況機會錯過了，就在也 回不來了 ，所以我站在這，來競選這次副部長。

而不管成功，還是失敗。

我 想那都是我一生很好的財富。

第11篇 年輕不怕失敗勵志演講稿

各位同學(xué)們：

今天我很激動，因為跟這么多同學(xué)在一起聊天。我沒有什么準備，這兩天非常地忙，又去拍了一點戲，又在寫劇本，每天都是從早到晚。但是我想我是“90后”了，我這個“90后”雖然跟大家是不一樣，但是今天我想談?wù)勎艺嬲?0后”的情況。

90年前我在一個封建家庭出生，那個時候很快地就念書，在學(xué)校里頭喜歡打球，喜歡運動，喜歡看電影，但是當我到了十幾歲的時候，當我們國家遭受到日本軍國主義的侵略的時候，我就不一樣了，我就念不下書去了。我不愿意做亡國奴，所以我就想我一定要去參加抗日工作。當時出去我知道有很大的困難，但是我沒有去想這些，想的就是怎么樣能夠到前線，我第一可以做的就是去救傷員，做一個戰(zhàn)地的護士。我也去抬了擔(dān)架，但是有一次幾乎把擔(dān)架掉下來，因為子彈穿過了這個擔(dān)架，我有點慌，就差一點掉下來。所以當時他們就勸我這么小，不能做這個工作，硬要叫我回去，我只好回去了。

就在那個時期，我又變了我的工作，我去演戲，是我去看戲的時候?qū)а菘粗辛?。一開始進中國電影制片廠，我一進去就跟舒繡文同志，茵瑛同志，三十年代的明星，她們已經(jīng)有名了，跟她們住在一個屋子里。我就問她們，你們演戲怎么會演得這么好，怎么努力才能夠演好戲。她們就說，首先不要有雜念，不要擔(dān)心，這種事情一定要慢慢地來。她們說第一，你要把臺詞念清楚，第二，你要像那個人，第三，你要自如，我這三樣我都不會。我上了臺路都不會走，心里緊張，有雜念，怎么辦呢，我只有取消這個雜念，我就自己想，我也不為名，我也不為利，我就不去管它了。他叫我怎么做我就怎么做吧，何必緊張呢，放松啊，把自己放松了，雜念慢慢慢慢少了，這也是一種覺悟。也不要有名利思想，也不要叫人家看了以后怎么笑話，沒有什么關(guān)系，我反正就是剛來的，但是要學(xué)。后來因為我們黨成立了一個中華劇藝社，他們也想培養(yǎng)我，因此我就轉(zhuǎn)到了這個中華劇藝社。在這段生活里頭我有很大的成長過程，自己每天是有個值日，一天有一個值日，這個值日從早晨天亮起來跑到四里路以外的地方去買菜，買完了菜回來，一天的這個劇團里頭的人的伙食都由你來包辦。燒飯，洗衣，煮菜什么，樣樣都是。在這個值日當中我又體會了很多東西，在這個苦難的年月里頭你不是光做演員，你還要做這么多的事情，生活上的關(guān)也要過，同志們之間友誼的關(guān)要過，學(xué)習(xí)的關(guān)也要過，要過很多很多的關(guān)。自己要很清楚地認識自己是怎么樣一個人，自己有多少學(xué)問，自己有多少本事，我能做多少事情，那么我應(yīng)該安心的，安定心來學(xué)，做，學(xué)，做，就是這樣子。后來白塵同志的《大地回春》寫出來了，他來跟我們大家講了角色，我就是演戲當中要過關(guān)了，這個關(guān)就是很難過，從那樣一個不起眼的跑龍?zhí)滓幌伦右鲆粋€主要的角色，很多東西我都不會.那個時候我們穿旗袍的人還要穿一個高跟鞋，我不會穿高跟鞋，一開始演的時候真是要命。我就跟那個導(dǎo)演講,說我實在演不了這個人物，我覺得我一場演下來，我自己都覺得難為情，我一定是演得一塌糊涂，我心里雜念是多得不得了。誰說的，我沒看見，他就這樣，以后他就說去把那個旗袍租給你，從今天起你在臺下每天穿高跟鞋，每天穿著這個紗旗袍去走，就把服裝道具都給我了。我就每天穿了個高跟鞋，這個鞋子穿了不行，真的走走我也就習(xí)慣了，他就是說你蠻好的嘛，你不是蠻好的嘛，他故意這樣在生活里頭來鼓勵我，所以旁邊人的幫助是非常重要的。這種友情，這種幫助一生一世不會忘。我們幾個人算是四大名旦，那個時候所謂四大名旦怎么會出來的`呢，四大名旦是夏焱同志，有一次會上他這么講，他說京劇有四大名旦，那么我們也有四大名旦啊，人家就問他了四大名旦是誰啊，那么他是白楊，舒繡文，張瑞芳，秦怡，就是四大名旦。那么四大名旦以后自己是不是有很多雜念了呢?我這個假“90后”想得還挺多，既然是四大名旦了，有的人就想我就不能去跑龍?zhí)装?，既然是四大名旦了，那我演戲要是這個演砸了，又怎么辦啊，就是各種各樣的都會有。我們的前輩他給了你這個名字就是鼓勵你，你要往這個地方去奔，并不是要叫名旦。

有時候“90后”也會有很多想法，現(xiàn)在考學(xué)校要想去留學(xué)，也許沒有考成功是吧，自己要想學(xué)習(xí)的這個大學(xué)進不去，很多事情都有大的方面。大的方面不想，總鉆著自己的牛角尖里一定會產(chǎn)生問題的，這是一個。另外一個，遇到了很多困難，覺得自己有點冤屈，你也是要從大的地方想，有冤屈的人多了，他的冤屈比我還要大，他怎么就過來了，也許是一個過程，這會冤屈了，以后人家看你，你雖然默默無聞，但是你工作很積極，就是這個人不錯，就用上了。很多事情像感情的問題上也是這樣，從小愛怎么到大愛，我跟大家講，我的孩子死了以后，我走到家里就不敢進去，我每天回家可以看到他，他總是走出來，媽媽回來了，他就這樣子。秦怡是中國影壇的常青樹，然而卻很少有人知道，秦怡的兒子金捷患有精神分裂癥，生活不會自理，全需秦怡照料。工作之余，秦怡將她大部分的情感都傾注在兒子金捷身上，為了照顧兒子，她承受了很多不為人知的痛苦，59年來，她常常忍受兒子精神失常時的拳腳相加，最終還忍受了白發(fā)人送黑發(fā)人的痛苦。20__年

59歲的金捷在母親的陪伴下走完了一生，他臨死的時候，我急得不得了，他跟我說媽媽你不要著急，沒有我你可以省點力。我說一個有病的孩子經(jīng)常能夠講出這種話來，我跟我姐姐兩個有的時候吵架了，他會到我旁邊，來拍拍我的肩膀，你是黨員，你是黨員，他在后頭來勸我，就是說你要讓人一點，你不能這樣做。他死了我就非常非常地痛苦，非常非常難受，我就沒法子生活了。后來電視里看到孤兒院里頭有一個男孩子22歲，生了脊髓炎，脊髓癌，已經(jīng)快要死了。那個記者在當場采訪他，他跟那個記者說，我現(xiàn)在只有三條，我心里想的事情。就一，我希望我的小朋友們今年還是可以穿新棉襖，還是可以吃上糖果，第二條，他說我長到22歲了我就想工作，通過我的工作去對我的國家，養(yǎng)我的國家作出貢獻，他說是不是可以把我的眼角膜捐出來，那么可以救治他人的眼睛。第三條，說我每天每天都要想尋找我的父母，我想問他們?yōu)槭裁茨銈円獊G掉我這個親生的孩子，我成為一個孤兒，但是他說我現(xiàn)在想，他們丟掉自己的親生孩子一定是有原因的，我想到他們一定會有原因，所以我也就不那么難受了。我一聽到這個故事我覺得好像好多了，我的孩子不過是有病，也已經(jīng)活到59歲了，比一比他這個孩子，人家都是很不應(yīng)該走的時候走掉了，那人家怎么過呢。

你如果一直鉆在自己的小愛里頭鉆不出來了，真的鉆不出來了，我想有許多事情只要你能夠去這樣想一想，你就可以想開。你想開了，你心情開朗了，你自然而然就有力量了，你就會做好你的事情，你就會有成就，所以我想今天就是跟大家講這些，謝謝!

第12篇 勵志演講：不過是失敗

大家好!

我是來自數(shù)碼藝術(shù)系室內(nèi)三班的孟子琪。。。

琪乃天上的美玉，玉的渾然天成是 他經(jīng)歷了 許多的磨礪，最后才可以如此美麗通透，而家人為我取名子琪，也 正是想 讓我有玉的勇敢與堅強。

從前，有個樵夫，他每天天天上山去砍財，有一天，半路上他 遇到了一個神仙，神仙說我可以給你個 愿望

一個是，一夜之間你可以什么也 不用做就可以成為一個成功的 人

另一個是，你要經(jīng)歷一些，磨礪一些，最后才可以成功。。。

也許大家一定認為樵夫一定選擇第一種，可是大家錯了，樵夫選了 第二種。。。

樵夫是這樣 說的：只有滿身經(jīng)歷的人，才是真正成功的 人，失敗并不可怕，可怕的是你沒有任何的經(jīng)歷，什么都沒有，那成功又算什么呢?是啊!樵夫選擇是對的。。。當一粒沙子變?yōu)檎渲闀r，我 想他 引以為傲的 是他的經(jīng)歷，而不是最后成為珍珠的精彩。。。因為只有經(jīng)歷才是你這輩子別人無法攀比的財富。。。

以前，我是個 很膽小的人。。。對陌生人都很少說話，更別說站在這個演講臺上 說話了，曾經(jīng)我想過要放棄，可有個人告訴我，不可以遇到一點困難就退縮，而且這世界不是每一次機會都可以如期光顧你。更何況機會錯過了，就在也 回不來了 ，所以我站在這，來競選這次副部長。。。

而不管成功，還是失敗。。。

我 想那都是我一生很好的財富。。。。

第13篇 勵志英語演講：可以失敗，不能畏懼

關(guān)于這場演講：james cameron的大筆預(yù)算(票房更龐大)的電影創(chuàng)造出想象的世界。在這個演講中，他揭露了自己從小就喜歡奇幻體驗的背景：閱讀科幻小說，深海潛水，以及這一切如何轉(zhuǎn)變成成功的巨片如《異形二》、《終結(jié)者》、《泰坦尼克號》與《阿凡達》。

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.

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 bringing them back, looking at them 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.

and my love of science fiction actually seemed to mirrored in the world around me, because what was happening, this was in the late’ 60s, we were going to the moon, we were e_ploring 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.

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 te_tbook. that was, the creativity had to find its outlet somehow.

and an interesting thing happened——jacques cousteau shows actually got me very e_cited 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 e_otic as anything that i had imagined from reading these books.

so, i decided i was going to become an e_otic 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 in 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.

since then, in the intervening 40 years, i’ve spent about 3,000 hours underwater, and 500 hours of that were in submersibles. and i’ve learned that deep ocean environment, and even the shallow ocean, is 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.

but, when i chose a career, as an adult, it was film making. 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, film making 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 film making. so, you know, merging the two passions.

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.

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 e_cited. and i thought, “wow, this is something that needs to be embraced into the cinematic art.” so, with terminator 2, which was my ne_t 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.

so, drawing a line through those two dots of e_perience, 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 leap-frog 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.

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.

so, i shelved it, and i made this other movie about a big ship that sinks. 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. 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 e_pedition.

sounds crazy. but this goes back to that theme about your imagination creating a reality. because we actually created a reality where si_ 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.

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. 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 am like living in a science fiction movie. this is really cool.”

and so, i really got bitten by the bug of deep ocean e_ploration. 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 e_perience that hollywood couldn’t give me. because, 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 e_peditions 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.

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, “okay, i’m going to park my day job as a hollywood movie maker, and i’m going to go be a full time e_plorer for a while.” and so, we started planning these e_peditions. and we wound up going to the bismark, and e_ploring it with robotic vehicles. we went back to the “titanic” wreck. we took little bots that we had created that spoolled 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.

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 e_perience 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 e_act replica on the blueprints of the ship.

so, it was this absolutely remarkable e_perience. and it really made me realize that the telepresense e_perience that you actually can have these robotic avatars, then your consciousness is injected into the vehicle, into this other form of e_istence. it was really really quite profound. and 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 e_ploration or for other means in many sort of post-human futures that i can imagine, as a science fiction fan.

so, having done these e_peditions, and really beginning to appreciate what was down there, such as at the deep ocean vents where we had these amazing animals. they are 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 ne_t to a 500 degree centigrade water plumes. you think they can’t possibly e_ist.

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 to 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 e_treme environments, taking them down to the vents, and letting them see, and take samples and test instruments, and so on.

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, 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.

i didn’t really learn about leadership until i did these e_peditions. 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.

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 2-3 months at a time.

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 e_plain 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 that, all the technology of it, and the difficulty, the human performance aspects of working at sea, you can’t e_plain 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 e_plain it. creates a bond, creates a bond of respect.

so, when i came back to make my ne_t 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 e_ist before. tremendously e_citing. 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 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.

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 film makers 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, and don’t bet against yourself. and take risks.”

nasa has this phrase that they like: “failure is not an option.” but failure has to be an option in art and in e_ploration, 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.

可以失敗，不能畏懼

詹姆斯?卡梅隆

ted大會上的演講

20__年2月

在我成長過程中，科幻小說一直是我的精神食糧。高中時我每天搭巴士上下學(xué)，單程要一小時。坐公車時，我總是沉浸在科幻小說里，仿佛被帶入另一個世界，書中講述的一個個故事極大地滿足了我無休無止的好奇心。

事實上，在課余時間，我常常在好奇心的驅(qū)使下，去徒步旅行，鉆進樹林去采集“標本”——青蛙、蛇、昆蟲之類，把它們帶回家，放在顯微鏡下觀察。我是個真正的科學(xué)怪人，總是想盡可能的去了解這個世界，去揭示它可能存在的極限。

我非常熱愛科幻小說，因為它們似乎就是現(xiàn)實的寫照，書中的一切都確實發(fā)生在我們身邊，60年代末期，人類登上了月球，探索了深海。電影攝影師雅克.格斯特讓我們在電視上看到了神奇的海洋生物，向人類展示了從未想象到的動物，竟和奇妙的水下世界。這似乎與科幻小說中的構(gòu)想遙相呼應(yīng)。

我還是個畫家，能繪畫，能創(chuàng)作。那時的我接觸不到電視游戲，缺乏登峰造極的cg電影技術(shù)，連多媒體領(lǐng)域的素材庫都沒有，所以我不得不在腦海中臆造這些形象。就像孩子們讀書時會想象書中的場景那樣，我們讀小說時，作者所描繪的影像就會腦海中不斷放映。這些影像一出現(xiàn)，我就會把它們畫下來，于是我開始畫外星人、外星世界、機器人、宇宙飛船等等。老師不止一次在數(shù)學(xué)課上逮到我在課本后面亂涂亂畫，因為我得給我的想象力開啟一扇讓其肆意奔涌的閘門。

然而一件有趣的事——雅克.格斯特的電視節(jié)目的播出，著實讓我興奮不已，我相信地球上就存在一個外星世界。雖然我可能永遠無法進入這個世界，因為這確實不現(xiàn)實。但是我能游歷水下世界，它就在地球上，富饒又充滿異星情調(diào)，就像我讀了科幻小說后所幻想的那樣。

所以15歲時，我決定成為一個潛水員,去探索神秘的海洋。唯一的問題是，我生活在加拿大的一個小山村，距離最近的海也有600英里。但我沒有因此氣餒，而是纏著父親，而是纏著父親，直到他同意讓我參加在邊境紐約州布法羅市——需要從我家穿過美加國界線——的一個潛水培訓(xùn)班。于是在一個寒冬，我在布法羅基督教青年會的一個泳池里獲得了潛水證書。然而，直到兩年后，我們?nèi)野岬搅思永Ｄ醽?，我才見到了真正的大海，進行真正的潛水。

從那時算起到現(xiàn)在的40年間，我在海底潛水共約3000小時，其中500小時是在潛水艇里度過的。無論是深海還是淺海環(huán)境，大海都豐富多彩，充滿奧秘，超乎我們想象。比起人類的想象力，自然的想象力更加浩瀚。直到今天，每次下潛時，我仍舊對眼中的海洋世界充滿敬畏，而我與大海的不解情緣仍在延續(xù)著，上演著。

但成年后，我并沒有以潛水為職業(yè)，而是選擇了電影攝制作為自己的事業(yè)。孩提時，我就喜歡畫漫畫，畫很多東西。我喜歡講故事，畫圖畫，而要把它們結(jié)合起來，電影攝制是再合適不過的工作了。電影攝制將圖片和故事有機結(jié)合，并賦予它們更深刻的意義。當然，我選來拍成電影的都是科幻故事，比如《終結(jié)者》、《異型》、《深淵》。 拍攝《深淵》時，我把自己對水下世界的愛、對潛水活動的愛融入其中，把對這兩件事的激情融合到了一起。

拍攝《深淵》時，又出現(xiàn)了些有趣的事：我們要塑造一個水狀的生物，為了解決這一特效上的問題，我們使用了“計算機生成動畫”技術(shù)，即cg。電影史上第一個軟表面的電腦繪制形象在此技術(shù)下誕生了。雖然這部電影沒讓公司賺到一分錢，還差點虧本，我還是得說，我看到了令人驚奇的一幕，全世界的觀眾都為這種像魔法一般的新技術(shù)神魂顛倒。

根據(jù)亞瑟?克拉克定律——任何非常先進的技術(shù)，初看都與魔法無異。很多觀眾都像是看到了神奇的魔法。這讓我非常興奮。我想cg技術(shù)也應(yīng)該用到電影藝術(shù)中去。所以，在下一部電影《終結(jié)者2》中，我們把這種技術(shù)又推進了一步。和工業(yè)光魔特效制作公司一起，創(chuàng)造了一個液態(tài)金屬人。這部電影能否大放異彩就要看特效了。事實證明，特效不負眾望。我們又一次施展了魔法，觀眾們依舊為之瘋狂。盡管這部電影還是沒讓我們沒賺到什么錢。

這兩次經(jīng)歷是一條分界線，對電影大師們來說，這意味著一個全新的、充滿想象與創(chuàng)造的世界即將誕生。于是我和好友斯坦?溫斯頓——拍攝前幾部電影時的首席特效化妝和角色設(shè)計師——創(chuàng)立了“數(shù)字領(lǐng)域”公司。這個名字意味著，我們要跳過光學(xué)影印模擬制作過程直接進入數(shù)字電影制作。實際上，我們也確實是這么做的，這使得我們在一段時間內(nèi)有了一定的競爭優(yōu)勢。

雖然我們確實已經(jīng)組建了公司進行造型設(shè)計，但在90年代中期，我發(fā)現(xiàn)我們有些落后了。 我寫了《阿凡達》這部電影，想要以此大力推動視覺效果和cg效果，用cg生成具有真實人類情感的角色，完全用cg詮釋主要角色和世界。但這電影不得不延期拍攝，因為公司員工告訴我，我們一時半會還沒有能力做到這點。

于是我把《阿凡達》擱到一邊，轉(zhuǎn)而制作了另一部電影，這部電影主要描述了一艘巨輪——“泰坦尼克號”——的沉沒。 我告訴電影制片方，我把它定位為巨輪上的《羅密歐與朱麗葉》，一部關(guān)于愛情的電影，就像羅密歐與朱麗葉的故事一樣凄美動人。而實際是因為我想潛入海底尋找真正的“泰坦尼克號”的殘骸，所以我才要做這部電影。但制片方并不知道這一真相。為說服他們，我說：“我們要潛入海底，尋找真正的“泰坦尼克號”，這樣可以拍攝真實的畫面。如果把這個片段用在首映式上，會引起很大的轟動，也會有良好的市場反響的?！蔽艺娴恼f服了制片方組建了一支探險隊呢。

雖然這聽起來有些瘋狂，但這就回到了“想象創(chuàng)造現(xiàn)實”的主題。因為我們確實創(chuàng)造了現(xiàn)實，6個月后，我乘一艘俄羅斯?jié)撏?，在北大西?.5英里深的水下，從觀察艙里看到了真實的“泰坦尼克號”，不是電影里的，也不是高清屏幕上的，而是真實的“泰坦尼克號”。

《泰坦尼克號》的拍攝著實讓我興奮。我們做了很多準備工作，搭建相機、設(shè)置燈光及各種設(shè)備。但令我震驚的是，這次深海拍攝就像是一次太空任務(wù)，需要尖端的科技和周全的計劃。我乘坐潛水艇潛入深海，那里漆黑又充滿危險，如果無法靠自己返回水面，其他人也無法開展營救工作。我想：“這就像生活在科幻電影中似的，真是太酷了?！?/p>

不過，我真的熱衷于海底探險。當然，探求科學(xué)的那種好奇心才是最重要的，科學(xué)需要冒險，需要好奇心，也需要想象力。只是在好萊塢拍電影是無法體驗到這些經(jīng)歷的。我能夠想象出一個生物并為它創(chuàng)造出視覺效果。但是透過潛艇窗戶看到的那些生物，這是我永遠想象不到的。在隨后的探險中，我在深海熱泉里看到了一些無人見過、無人知曉的生物，實際上，我們看到它們并拍下照片時，它們還沒有科學(xué)記載。

這一切讓我感到非常震撼，我必須做的更多。為了滿足自己的好奇心，我做了一個決定。 在《泰坦尼克號》成功后，我決定暫別好萊塢導(dǎo)演這一主業(yè)，做一段時間全職探險家。于是我們開始計劃一些探險，一行人興致勃勃的去了俾斯麥海域，在自動探測車幫助下，對這一海域展開了探索。然后我們重回“泰坦尼克號”的殘骸we took little bots that we had created that spooled a fiber optic.我們決定進到“泰坦尼克號”內(nèi)部做一次內(nèi)部調(diào)查，這是史無前例的，從沒有人看過沉船內(nèi)部，因為他們無計可施，然而我們想出了辦法。

我坐在潛水艇里，到了“泰坦尼克號”的甲板上，看著這些厚木板，感覺這里很像當年船上的樂隊演奏的地方。我操控著自動探測儀在穿廊間穿梭，操作儀器時，我的思想像是跟著它走了。我感覺我自己真的到了泰坦尼克號，這艘遇難船的內(nèi)部。這種似曾相識的感覺像夢一樣，從未有過。假如我想轉(zhuǎn)彎，沒等探測器的燈光照到那，我就能知道接下來會看到什么。這是因為還在拍電影的時候，我就在“泰坦尼克號”的模型上工作了數(shù)月，而那個模型恰恰是根據(jù)它的設(shè)計圖制作的精確復(fù)制品。

這是一次不同尋常的體驗。這次遠程控制的經(jīng)歷讓我清楚的認識到，我們可以把自己的意識注入這些機器化身中，它們是另一種形式上的生命存在。這種體驗意義重大。如管中窺豹，可見未來一斑，或許我們馬上就能用機器生命體進行科學(xué)探索，或者為未來的人類做各種事情，只要是我這個科幻小說迷能想到的。

在這些探險之后，我開始真正欣賞那些海底生物，比如我們在深海熱泉所見到的那些神奇生物。這些生物雖生活在地球上，但基本可以稱為外星生物。它們生活在一個化學(xué)合成的環(huán)境中。它們無法像我們一樣在太陽為生命基礎(chǔ)的體系下生存。在海底，還能看到生活在500攝氏度水汽下的動物。你無法相信它們能在那生存。

與此同時，因為從小受科幻小說影響，我對太空科學(xué)也非常有興趣。我迫不及待的加入了空間社，真正參與到nasa中，同咨詢委員會一起，策劃真實的太空任務(wù)，我們前往俄羅斯，參加前天體生物醫(yī)學(xué)會的研討等等諸如此類的任務(wù)，讓宇航員帶著3d攝像機進入國際空間站。這令人著迷，但我急切的想讓這些太空專家同我們一起潛入深海，天體生物學(xué)家，行星專家，都對特殊環(huán)境充滿興趣，帶他們?nèi)ド詈崛?，觀察深海生物，取一些樣本，測試儀器等等。

所以我們既是在拍紀錄片，也在研究科學(xué)，更確切的說是在研究空間科學(xué)。i'd completely closed the loop between being the science fiction fan, as a kid, and doing this stuff for real.在探索發(fā)現(xiàn)的旅途中，我學(xué)到了很多，不僅僅是科學(xué)知識，還有領(lǐng)導(dǎo)能力。很多人認為導(dǎo)演就是領(lǐng)導(dǎo)者，像船長或者其他領(lǐng)導(dǎo)者一樣。

沒進行這些探險以前，我并不真正了解領(lǐng)導(dǎo)力的內(nèi)涵。因為有時我會問自己，我到底在這干什么呢?為什么要做這些節(jié)目? 我從中得到了什么? 我們并沒有從這些見鬼的節(jié)目中賺到錢，還差點破產(chǎn)。我也沒有賺到名聲。很多人以為我拍了《泰坦尼克號》、《阿凡達》后，就在沙灘上修磨著指甲，享受生活呢。 其實，我拍了這些電影，這些記錄片，只換來了為數(shù)不多的觀眾。

得不到名聲，等不到榮耀，也得不到金錢，我問自己，你在做什么呢?其實只是為了任務(wù)本身，是為了挑戰(zhàn)——海洋就是現(xiàn)在最具挑戰(zhàn)性的環(huán)境了;是為了探索發(fā)現(xiàn)時的驚喜;也為了一個小而緊密的團隊所產(chǎn)生的那種不可思議的團隊感。我們這10到12人在一起共事多年。有時要在海里一起工作兩三個月。

在這個團隊中，我發(fā)現(xiàn)最重要的東西就是互相尊重。每個人做的工作都無以言表。我回到海邊告訴其他人，我們必須這樣做，用光學(xué)纖維，用這種技術(shù)那種技術(shù)，各種技術(shù)，戰(zhàn)勝一切困難，考慮演員在海里的表現(xiàn)。這種互相配合并肩作戰(zhàn)的默契是無法言明的，這些事情只有警察或者參加過戰(zhàn)斗的人經(jīng)歷后才能明白，他們知道這是無法向他人表達的。我們必須建立起這種默契，建立起互相尊重的默契。

所以，我開始拍攝接下來的電影《阿凡達》時，試著運用了這種領(lǐng)導(dǎo)原則，我尊重我的團隊，他們也很尊重我。這讓團隊變得很有活力。所以，這次我也帶了一支小團隊，在未經(jīng)探索的地區(qū)拍攝《阿凡達》，創(chuàng)造前所未有的新技術(shù)，這非常有意思，也頗具有挑戰(zhàn)性。在這四年半多的時間里，我們就像一家人一樣。這完全改變了我拍電影的方式。 有人評論說，卡梅隆只是把一些海洋生物放到了潘多拉星球上。但我來說，建立這種互相尊重的默契不僅僅是做商業(yè)電影的基本法則，而是過程本身改變了事情的結(jié)果。

我能從這些經(jīng)歷中總結(jié)出什么，又能學(xué)到什么?首先要有好奇心，這是你擁有的最強大的東西;其次要有想象力，這是你展現(xiàn)現(xiàn)實的力量;第三：尊重團隊，這是比世界上一切榮譽都更為重要。 有不少年輕電影導(dǎo)演向我討教成功經(jīng)驗，我告訴他們：“不要作繭自縛。別人會束縛你，但你自己不要作繭自縛。不要說自己不行，要敢于承擔(dān)風(fēng)險?！?/p>

nasa里流行一句話：“只能成功，不能失敗”但是，在藝術(shù)領(lǐng)域和探索發(fā)現(xiàn)時是允許失敗的，因為這是需要運氣的。只有冒險，創(chuàng)新，才能成功。你必須愿意承擔(dān)風(fēng)險，這就是我給你們的建議，無論你做什么，可以失敗，不能畏懼。