He hopes that he may once again repeat，upon a greater scale than ever before， thatprocess of destroying his enemies one byone by which he has so long thrived andprospered， and that then the scene will beclear for the final act， without which all hisconquests would be in vain - namely， thesubjugation of the Western Hemisphere tohis will and to his system.
The Russian danger is therefore ourdanger， and the danger of the United States，just as the cause of any Russian fightingfor his hearth and home is the cause offree men and free peoples in every quarterof the globe. Let us learn the lessonsalready taught by such cruel experience.Let us redouble our exertions， and strikewith united strength while life and powerremain.
国，否则，他将因其犯下的种种罪行而受到惩罚。入侵俄国的行动只不过是他蓄谋已久的对英伦三岛的入侵行动的序幕而已。毫无疑问，他期望这一切能在冬季到来之前全部完成，期望在美国的海空军来不及插手干预之前即能征服大不列颠。他期望能以空前的规模再度重演他长期以来赖以发迹的将敌手各个击破的故伎，然后便可以腾出场地来演出最后的一幕——将整个西半球置于他的控制和统治之下。他知道，如果做不到这一点，他的全部战果都将化为泡影。
由此可知，俄国现在所面临的危险就是我们自己的危险，同样也是美国的危险；俄国人民保家卫国的事业就是全世界一切自由的人民和自由的民族的事业。让我们从过去残酷的历史经验中汲取教训吧。让我们趁着生命未息、力量尚存之时，加倍努力，团结奋斗吧。
可以失败，但不能畏惧
Failure Is an Option， but Fear Is not
［詹姆斯·卡梅隆］
［James Cameron］
I grew up on a steady diet of sciencefiction. In high school I took a bus to schoolan hour each way every day. And I was alwaysabsorbed in a book， science fiction book， whichtook my mind to other worlds， and satisfied， in anarrative form， this insatiable sense of curiositythat I had.
And I was an artist. I could draw. I couldpaint. And I found that because there werentvideo games and this saturation of CG moviesand all of this imagery in the media landscape，I had to create these images in my head. Youknow， we all did， as kids having to read abook， and through the authors deion putsomething on the movie screen in our heads. And so， my response to this was to paint， todraw alien creatures， alien worlds， robots，spaceships， all that stuff. I was endlessly gettingbusted in math class doodling behind thetextbook. That was， the creativity had to find itsoutlet somehow.
在我成长过程中，科幻小说一直是我的精神食粮。高中时我每天搭公交车上下学，单程要一小时。坐公交车时，我总是沉浸在科幻小说里，仿佛被带入另一个世界，书中讲述的一个个故事极大地满足了我无休无止的好奇心。
我还是个画家，能绘画，能创作。那时的我接触不到电子游戏，缺乏登峰造极的CG（计算机绘图）电影技术，连多媒体领域的素材库都没有，所以我不得不在脑海中臆造这些形象。就像孩子们读书时会想象书中的场景那样，我们读小说时，作者所描绘的影像就会脑海中不断放映。这些影像一出现，我就会把它们画下来，于是我开始画外星人、外星世界、机器人、宇宙飞船等等。老师不止一次地在数学课上逮到我在课本后面乱涂乱画，因为我得给我的想象力开启一扇让其肆意奔涌的闸门。
And an interesting thing happened -Jacques Cousteau shows actually got me veryexcited about the fact that there was an alienworld right here on Earth. So， I decided I wasgoing to become an exotic scuba diver at theage of 15.
But， when I chose a career， as an adult， itwas film making. And that seemed to be thebest way to reconcile this urge I had to tellstories， with my urges to create images. And Iwas， as a kid， constantly drawing comic books，and so on. So， film making was the way to putpictures and stories together. And that madesense. And of course the stories that I chose totell were science fiction stories： Terminator，Aliens and The Abyss. And with The Abyss，I was putting together my love of underwaterand diving， with film making. So， you know，merging the two passions.
So， I wrote this piece called Avatar， whichwas meant to absolutely push the envelopeof visual effects， of CG effects， beyond， withrealistic human emotive characters generatedin CG， and the main characters would all be inCG， and the world would be in CG. And theenvelope pushed back. And I was told by thefolks at my company that we werent going tobe able to do this for a while.
然而一件有趣的事——雅克·格斯特的电视节目的播出，着实让我兴奋不已，我相信地球上存在一个外星世界。所以15岁时，我决定成为一个潜水员，去探索神秘的海洋。
但成年后，我并没有以潜水为职业，而是选择了电影摄制作为自己的事业。孩提时，我就喜欢画漫画，画很多东西。我喜欢讲故事、画图画，而要把它们结合起来，拍电影是再合适不过的工作了。拍电影将图片和故事有机结合，并赋予它们更深刻的意义。当然，我选来拍成电影的都是科幻故事，比如《终结者》、《异型》、《深渊》。拍摄《深渊》时，我把自己对水下世界的爱、对潜水活动的爱融入其中，把对这两件事的激情融合到了一起。
我制作了《阿凡达》这部电影，想要以此大力推动视觉效果和CG效果，用CG生成具有真实人类情感的角色，完全用CG诠释主要角色和世界。但这部电影不得不延期拍摄，因为公司员工告诉我，我们一时半会儿还没有能力做到这点。
So， I shelved it， and I made this othermovie about a big ship that sinks. Youknow， I went and pitched it to the studioas Romeo and Juliet on a ship. Its goingto be this epic romance， passionate film. Secretly， what I wanted to do was I wantedto dive to the real wreck of “Titanic”. Andthats why I made the movie. And thats thetruth. Now， the studio didnt know that. ButI convinced them. I said， “Were going todive to the wreck. Were going to film it forreal. Well be using it in the opening of thefilm. It will be really important. It will be agreat marketing hook.” And I talked theminto funding an expedition.
Sounds crazy. But this goes back tothat theme about your imagination creatinga reality， because we actually created areality where six months later I find myselfin a Russian submersible two and a halfmiles down in the north Atlantic， looking atthe real “Titanic” through a view port， not amovie， not HD， for real.
NASA has this phrase that they like：“Failure is not an option.” But failure hasto be an option in art and in exploration，because its a leap of faith. And noimportant endeavor that required innovationwas done without risk. You have to bewilling to take those risks. So， thats thethought I would leave you with， is thatin whatever youre doing， failure is anoption， but fear is not. Thank you.
于是我把《阿凡达》搁到一边，转而制作了另一部电影，这部电影主要描述了一艘巨轮——“泰坦尼克号”的沉没。我告诉电影制片方，我把它定位为巨轮上的《罗密欧与朱丽叶》。让他成为一部关于爱情的电影，像罗密欧与朱丽叶的故事一样凄美动人。而实际是因为我想潜入海底寻找真正的“泰坦尼克号”残骸，所以我才要做这部电影。但制片方并不知道这一真相，为说服他们，我说：“我们要潜入海底，寻找真正的泰坦尼克号，这样可以拍摄真实的画面。如果把这个片段用在首映式上，会引起很大的轰动，也会有良好的市场反响的。”我竟然说服了制片方组建了一支探险队。
虽然这听起来有些疯狂，但这就回到了“想象创造现实”的主题。因为我们确实创造了现实。6个月后，我乘一艘俄罗斯潜艇，在北大西洋2.5英里深的水下，从观察舱里看到了真实的“泰坦尼克号”，不是电影里的，也不是高清屏幕上的，而是真实的“泰坦尼克号”。
NASA里流行一句话：“只能成功，不能失败。”但是，在艺术领域和探索发现时是允许失败的，因为这是需要运气的。只有冒险、创新，才能成功。你必须愿意承担风险，这就是我给你们的建议，无论你做什么，可以失败，但不能畏惧。
Blood， Sweat and Tears
热血、汗水和眼泪
［温斯顿·丘吉尔 / Winston Churchill］
On Friday evening last I receivedfrom his majesty the mission to form anew administration.
It was the evident will of parliamentand the nation that this should beconceived on the broadest possible basisand that it should include all parties.