詹姆斯·卡梅隆的科幻故事（2018）

James Cameron's Story of Science Fiction S01E03

Part 6 May 10, 2021, 12:06 p.m.

really, in the history of science fiction --
这位作家名为约翰·W·坎贝尔
a writer named John W. Campbell Jr.
你在思考《惊骇科幻小说》的定位时
Did you have any plan in mind
心中有没有什么计划
as to what you wanted "Astounding" to be?
我想让它成为一部优秀的科幻杂♥志♥
I wanted it to be a good science fiction magazine,
约翰·W·坎贝尔
还有一点
and, oh, yes --
我想去学习怎么当一名编辑
I wanted to learn how to be an editor.
所以他开始为杂♥志♥创建一个作家团队
So he began to establish a group of writers for his magazine
《帝国的逻辑》
《惊骇科幻小说》
这个团队成为了现代科幻小说的"万神殿"
that became the pantheon of modern science fiction --
比如罗布特·海因莱因艾萨克·阿西莫夫
Robert Heinlein, for example, Isaac Asimov.
《马路必须转动起来》
《惊骇科幻小说》
《死亡之手》
约翰·W·坎贝尔想要的是一群
John W. Campbell Jr. -- what he wanted were people
艾萨克·阿西莫夫的奠基小说
艾萨克·阿西莫夫
能在故事中写出真实科学的作家
who would write stories in which the science was realistic --
"真实"就是指其中的科学文化
realistic in the sense that the scientific culture
要被精确地表述出来
be represented accurately.
他确实把科幻小说
He certainly shifted science fiction
从男孩的太空冒险故事
from boys' adventure stories in space
转换成了对于未来前景的严肃思考
to serious considerations of what the future might be like,
这开启了一些作家所认为的黄金时代
and that set up what some writers think of as the golden age.
坎贝尔说创作《有谁去那里》的灵感
Campbell said he got the idea
来自于
the story "Who Goes There?"
他儿童时期一次非常私人的意外经历
from a very personal incident that happened to him as a child.
有一天他回到家看到母亲在厨房♥里
One day, he came home, saw his mother in the kitchen,
就开始和她说话而她回答问题时的
and started talking with her and became increasingly confused
古怪反应使其愈发地困惑
by her odd responses to his questions.
直到他的母亲走进厨房♥
It wasn't until his mother actually walked in
他才意识到自己是在和母亲的孪生姐妹说话
that he realized he had been talking to her twin sister.
这个离奇的经历
This sort of uncanny moment --
即他认为自己看见了熟知的人
the moment when he thought he saw someone he knew,
结果却是另外一个人
and it turned out to be a different person --
给他留下了终生难忘的印记
stayed with him for all his life.
你不能把我绑起来
You ain't tying me up.
那么我就杀了你蔡尔兹
Then I'll have to kill you, Childs.
那就杀了我吧
Then kill me.
《怪形》绝对是关于内心怪物的
"The Thing" is definitely about the monster within
以及我们内心的怪物
and how those monsters within us
如何让恐惧超越
that would allow the fear to overtake you to the point where,
我们对朋友的信任
your friend, you don't trust.
这样发展下去
You go down that road,
会很可怕
and it can be monstrous.
我会说《环太平洋》
I would say that, you know, "Pacific Rim"
是一部中规中矩的科幻作品
is foursquare science fiction...
吉尔莫·德尔·托罗
导演制片人
机器人和巨型怪兽
...robots and giant monsters,
科幻作品大抵如此
you don't get any more science fiction than that.
我喜欢《环太平洋》的地方在于
"Pacific Rim" -- what I love is
我们能想出无数种方案
all the myriad of solutions
来杀掉二十五层楼那么高的怪兽
that we can come up with to kill 25-story monsters.
其中最后一招可能就是
The one solution that probably would come out last is,
我们来造一个二十五层楼高的机器人吧
"Let's create 25-story robots."
对机甲战士
Robots, right.
《环太平洋》 2013
绝大部分怪兽电影里
The great majority of monster movies,
都会在结尾杀了怪兽
you killed the monster at the end.
所以你直面恐惧
So it's you stand that fear up,
然后消除它
and then you kill it...
用智慧用意志
...and you kill it by ingenuity, by willpower,
用勇气不论什么
by courage, whatever it is,
我认为在怪兽电影中
and so I think there's an element
我们创造了一种可以被毁灭的元素
that we create in the monster so we can destroy it...
就像五十年代
...like in the '50s,
那些低成本的怪兽电影
in all these "B" Monster movies.
《幽浮魔点》
小时候我看了《幽浮魔点》
I certainly saw "The Blob" when I was kid,
那些渗出的粘稠物会杀人
and the fact that some oozing mass of sticky goo
道格拉斯·特兰布
视觉效果总监
《第三类接触》
是一个很好的想法
is going to kill me is a really good idea.
那是一部低成本电影很吓人情节很愚蠢
It's a very B-movie, horrible, stupid idea,
但事实上它反响很好
but it actually works pretty well.
低成本电影出现于二十世纪五十年代
"B" Movies in the 1950s emerged
因为恐怖题材走向衰落
because the horror genre went into decline,
布莱尔·戴维斯
教授作家
《二十世纪五十年代的好莱坞
与低预算电影的重生》
有些东西不得不填补空白
and something had to fill the void,
而科幻作品恰好适合
and science fiction was just the right fit
独♥立♥制片人
for independent producers
仅用橡胶怪兽服
with just enough rubber monster suits
《黑湖妖谭》
进行低成本创作
to create something on the cheap.
《黑湖妖谭》
Well, "Creature From the Black Lagoon"
迪安·德夫林
制片人编剧
大概是我陷进去的第一部电影
was probably the first one that I remember getting sucked into,
它让我很多年都不敢去湖里游泳
and it kept me from swimming in lakes for years.
我记得看《杀人鼩》时很害怕
"The Killer Shrews" -- I remember being quite frightened by it.
杰夫·高布伦
演员
最后
At the end,
人们幽闭在棚子里
people are claustrophobically in this sort of shed.
《杀人鼩》
我认为那很可怕
I thought that was terrible,
直至今日我对长满獠牙的生物仍怀梦魇
and I still have dreams of fangy kind of creatures.
1953年有部电影叫做《机械怪兽》
There's a 1953 film called "Robot Monster".
那个怪兽是一个身穿猩猩装
The monster was a guy in a gorilla costume
《机械怪兽》
头戴潜水头盔的家伙
with a diver's helmet,
《机械怪兽》
成本两万美元十分荒谬
made for $20,000 -- completely ridiculous,
但观众买♥♥账最后赚了一百多万美元
and yet audiences bought it, and it made over $1 million.
二十世纪五十年代的怪兽电影
The monster movies of the 1950s --
马特·辛格
主编电影评论家
打破银幕
你可以非常清楚地看到
you can see very clearly
它们如何跳出二战背景
the way they sprung out of World War II
原♥子♥弹♥以及对其所释放物质
and the atomic bomb and this incredible fear
不可思议的惧怕
about what had been unleashed.
美国历史上从未有过
Never in the history of the United States,
《毒蜥蜴》
如此大而有强悍的怪兽
a monster of such size and power...
人们已经发现
People had discovered that radiation
加里·K·沃尔夫
作家
《伟大的科幻小说作品是怎样炼成的》
辐射可以改变基因结构
can change genetic structures and create,
《开端或结尾》
并造出奇特的怪物
well, odd kinds of monsters.
《巨爪》
所有原子怪兽电影的鼻祖
The granddaddy of all atomic monster movies
安娜李·纽威茨
科技文化资深编辑
科技之美
当属《哥斯拉》
has got to be "Godzilla".
《哥斯拉》
《哥斯拉》体现了
"Godzilla" embodies
对核武器袭击的
the anxiety and the terror of a...
-不安和恐惧 -对核武器时代
- ...nuclear attack. - Of the nuclear age.
当然这并不意外
Sure. It's not a surprise that it emerged
它作为一种科幻新神话
as a science-fiction neo-myth from Japan,
出现在现实中被核武器轰炸过的日本
which had actually been bombed by nuclear weapons.
而这样一来
And in that way,
怪物反映了它们被创造时期的
monsters respond to the zeitgeist
时代精神
at the time that they are created.
是的时代精神
Right. The zeitgeist.
怪兽非常适合
So monsters are incredibly apt
以肉体形式体现抽象概念
at embodying the abstract in flesh.
《哥斯拉》拍摄于原♥子♥弹♥爆♥炸♥后
"Godzilla" was made less than a decade
还不到十年的时候
after the atomic bombings,
当时有许多话题是禁忌