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This weekend, tens of millions of people in the United States and tens of millions more around the world,
这周末，数千万的美国人，还有数千万来自世界上其它地方的人，
in Columbus, Georgia, in Cardiff, Wales, in Chongqing, China, in Chennai, India will leave their homes,
比如哥伦布，佐治亚，威尔士的卡迪夫，中国重庆，印度金奈，他们会走出家门，
they'll get in their cars or they'll take public transportation or they will carry themselves by foot,
开着车或者搭乘公共交通工具或者步行
and they'll step into a room and sit down next to someone they don't know or maybe someone they do,
走进一个房间，在某个他们认识或者不认识的人身边坐下，
and the lights will go down and they'll watch a movie.
灯光熄灭，开始看一场电影。
They'll watch movies about aliens or robots, or robot aliens or regular people.
他们会看关于外星人或者机器人，或者机器外星人或者普通人的电影。
But they will all be movies about what it means to be human.
但所有的电影都是关于人类存在意义的。
Millions will feel awe or fear, millions will laugh and millions will cry.
数百万人会感觉到敬畏或者害怕，数百万人会哭或者会笑。
And then the lights will come back on, and they'll reemerge into the world they knew several hours prior.
然后灯光再次亮起，他们再度出现在那个几小时前认识的世界中。
And millions of people will look at the world a little bit differently than they did when they went in.
数百万人看待这个世界的方式，跟走进电影院前会有所不同。
Like going to temple or a mosque or a church, or any other religious institution, movie-going is, in many ways, a sacred ritual.
跟去寺庙、清真寺、教堂或是其它的宗教建筑一样，看电影从很多方面来说就像个神圣的仪式。
Repeated week after week after week.
在一个个周末重复着。
I'll be there this weekend, just like I was on most weekends between the years of 1996 and 1990, at the multiplex,
我这周末会走进电影院，就像是1990年到1996年间的大部分周末一样，
near the shopping mall about five miles from my childhood home in Columbus, Georgia.
那个电影院坐落在佐治亚州的哥伦布，离我儿时的家5英里，在一个购物商场旁边。
The funny thing is that somewhere between then and now,
有趣的是，从那时到现在，
I accidentally changed part of the conversation about which of those movies get made.
我无意中改变了关于制作哪些电影的部分话题。
So, the story actually begins in 2005, in an office high above Sunset Boulevard,
故事开始于2005年，在日落大道的一个办公室，
where I was a junior executive at Leonardo DiCaprio's production company Appian Way.
我在莱昂纳多·迪卡普里奥的出品公司亚壁古道担任一名初级主管。
And for those of you who aren't familiar with how the film industry works,
可能你们有些人不是很了解电影行业是什么样的，
it basically means that I was one of a few people behind the person who produces the movie for the people behind and in front of the camera,
大致来说，我就是那些电影制作人员身后的人，这些电影制作人员是为幕后台前的人工作，
whose names you will better recognize than mine.
他们的名字比我的有辨识度的多。
Essentially, you're an assistant movie producer who does the unglamorous work
从本质上来说，你不过就是个电影制片人助理，做着普通的事，
that goes into the creative aspect of producing a movie.
而这些会成为拍成一部好电影的一个因素。
You make lists of writers and directors and actors who might be right for movies that you want to will into existence;
你写下编剧、导演和演员的名字，他们可能会适合这部你想要拍成的电影；
you meet with many of them and their representatives, hoping to curry favor for some future date.
你跟他们中的许多人以及他们的代表见面，为了未来的某个日期而拍他们的马屁。
And you read, a lot. You read novels that might become movies,
你还要读很多东西。你要读可能会被拍成电影的小说，
you read comic books that might become movies, you read articles that might become movies,
你要读可能会拍成电影的漫画，你要读可能会被拍成电影的文章，
you read scripts that might become movies.
你要读可能被拍成电影的剧本。
And you read scripts from writers that might write the adaptations of the novels, of the comic books, of the articles,
你还要读可能是由小说、漫画或是文章改编成的剧本，
and might rewrite the scripts that you're already working on.
还可能要把自己已经在制作的剧本推翻重写。
All this in the hope of finding the next big thing or the next big writer who can deliver something
希望找到下一个热门话题，或是下一个能创作的大编剧，
that can make you and your company the next big thing.
可以让你和你的公司变得更加出名。
So in 2005, I was a development executive at Leonardo's production company.
2005年，我是莱昂纳多出品公司的研发主管。
I got a phone call from the representative of a screenwriter
我接到一位编剧的代表的电话，
that began pretty much the way all of those conversations did: "I've got Leo's next movie."
他的开场白跟很多人一样：“我来写莱昂下部电影的剧本。”
Now in this movie, that his client had written, Leo would play an oil industry lobbyist
在这部电影中，这部编剧笔下的莱昂是一位石油行业的说客，
whose girlfriend, a local meteorologist, threatens to leave him because his work contributes to global warming.
他的女朋友是一位当地的气候学家，因为他的工作会促进全球变暖而威胁要跟他分手。
And this is a situation that's been brought to a head
事情已经到了紧要关头，
by the fact that there's a hurricane forming in the Atlantic that's threatening to do Maria-like damage from Maine to Myrtle Beach.
因为亚特兰大的一场飓风将会给从缅因州到摩陀海滩一代带来跟台风玛丽一样的灾祸。
Leo, very sad about this impending break up,
莱昂对于这一分手要求感到非常伤心，
does a little more research about the hurricane and discovers that in its path across the Atlantic,
于是去调查了这场飓风，并发现在这个飓风穿过亚特兰大州的路线上，
will pass over a long-dormant, though now active volcano that will spew toxic ash into its eye
它会经过一座长期休眠、现在活跃起来的火山，它会将有毒的火山灰喷出到飓风眼中，
that will presumably be whipped into some sort of chemical weapon that will destroy the world.
可能会被迅速变成某种可以毁灭世界的化学武器。
It was at that point that I asked him, "So are you basically pitching me 'Leo versus the toxic superstorm that will destroy humanity?'"
那个时候我就问他，“所以你是在向我推销‘莱昂对抗某种可能毁灭人类的有毒风暴’吗？”
And he responded by saying, "Well, when you say it like that, it sounds ridiculous."
他回答说：“你要是这么说那就太可笑了。”
And I'm embarrassed to admit that I had the guy send me the script,
虽然很尴尬，但我承认我还是让那个人给我送了剧本，
and I read 30 pages before I was sure that it was as bad as I thought it was.
读了30页之后我终于确定，这个故事确实就跟我想象的一样烂。
Now, "Superstorm" is certainly an extreme example, but it's also not an unusual one.
超级风暴虽然是个极端例子，但是也没那么罕见。
And unfortunately, most scripts aren't as easy to dismiss as that one.
不幸的是，大部分的剧本都不像这个那样容易推掉。
For example, a comedy about a high school senior, who, when faced with an unplanned pregnancy,
举个例子来说，有一个喜剧，故事是一个高中生面对意外怀孕，
makes an unusual decision regarding her unborn child.
对于这个还没出生的孩子，她做了个不寻常的决定。
That's obviously "Juno." Two hundred and thirty million at the worldwide box office, four Oscar nominations, one win.
这很明显写的就是《鸿孕当头》。全世界票房2.3亿，获得4个奥斯卡奖提名，拿到了1个奖。
How about a Mumbai teen who grew up in the slums wants to become a contestant on the Indian version of "Who Wants To Be A Millionaire?"?
那一个在孟买贫民窟长大的孩子想参加印度版的《谁想成为百万富翁》呢？
That's an easy one -- "Slumdog Millionaire."
很容易猜到--《贫民窟的百万富翁》。
Three hundred seventy-seven million worldwide, 10 Oscar nominations and eight wins.
全世界票房3.77亿，10项奥斯卡奖项提名，拿到了8个奖。
A chimpanzee tells his story of living with the legendary pop star Michael Jackson. Anyone?
还有一只大猩猩讲述自己跟摇滚巨星迈克尔·杰克逊一起生活的故事。猜到了吗？
It's a trick question. But it is a script called "Bubbles,"
这个有点偏。剧本的名字叫做“泡沫”，
that is going to be directed by Taika Waititi, the director of "Thor: Ragnarok."
将会由泰卡·怀蒂蒂执导，他也是《雷神：诸神黄昏》的导演。
So, a large part of your job as a development executive is to separate the "Superstorms" from the "Slumdog Millionaires,"
研发主管工作内容的很大一部分就是将超级风暴之流从《贫民窟的百万富翁》中筛出去
and slightly more generally, the writers who write "Superstorm" from the writers who can write "Slumdog Millionaire."
或者是将超级风暴之流的编剧跟《贫民窟的百万富翁》的编剧区分开。
And the easiest way to do this, obviously, is to read all of the scripts, but that's, frankly, impossible.
要做到这件事最简单的方式，很明显就是将所有剧本都读一遍，但说实话这是不可能的。
A good rule of thumb is that the Writers Guild of America registers about 50,000 new pieces of material every year, and most of them are screenplays.
根据经验，美国作家协会每年新注册的作品都有大概5万篇，其中大部分是剧本。
Of those, a reasonable estimate is about 5,000 of them
其中，合理估计是大约有5000篇
make it through various filters, agencies, management companies, screenplay compositions and the like,
可以通过包括代理商、经纪公司、电影剧本组合等在内的层层筛选，
and are read by someone at the production company or major studio level.
然后被某个出品公司和主流工作室的成员读到。
And they're trying to decide whether they can become one of the 300-and-dropping movies
他们将决定这些剧本能不能成为每年拍摄的300+部电影中的一部，
that are released by the major studios or their sub-brands each year.
被某个主流工作室或其子品牌发行。
I've described it before as being a little bit like walking into a members-only bookstore
我前面说过，这个过程就好像是走进一个会员制的书店，
where the entire inventory is just organized haphazardly, and every book has the same, nondescript cover.
里面的所有存货都随意摆放着，每本书都有相同的、毫无特色的封面。
Your job is to enter that bookstore and not come back until you've found the best and most profitable books there.
你的工作就是走进那个书店，直到找到那本最好、最赚钱的书。
It's anarchic and gleefully opaque.
这实在是无秩序、无法识别。
And everyone has their method to address these problems.
对于这些问题，每个人都有各自的处理方式。
You know, most rely on the major agencies and they just assume that if there's great talent in the world,
大部分人都依赖于主流代理商，这些代理商认为，如果有才华的人真的存在，
they've already found their way to the agencies,
他们就会自己找到代理商那里去，
regardless of the structural barriers that actually exist to get into the agencies in the first place.
先不考虑进入代理商之前所存在的壁垒。
Others also constantly compare notes among themselves about what they've read and what's good,
另一些人，他们之间也经常比较自己读过的和好的笔记，
and they just hope that their cohort group is the best, most wired and has the best taste in town.
希望他们的合作方是最好的、最棒的、最有品位的。
And others try to read everything, but that's, again, impossible.
还有一些人试图读完所有的剧本，但我再说一次，这是不可能的。
If you're reading 500 screenplays in a year, you are reading a lot.
如果你一年能读500个剧本，那就已经很多了。
And it's still only a small percentage of what's out there.
但即使这样，这也只占了所有剧本的一小部分而已。
Fundamentally, it's triage.
根本上说，这是一个优先分配的问题。
And when you're in triage, you tend to default to conventional wisdom about what works and what doesn't.
当你需要优先分配时，你往往无法通过传统思维模式认定哪个可以，哪个不可以。
That a comedy about a young woman dealing with reproductive reality can't sell.
讲述年轻妇女面对的生育问题是卖不出去票的。
That the story of an Indian teenager isn't viable in the domestic marketplace or anywhere else in the world outside of India.
印度青少年的故事在美国卖不出去，在除了印度的其他地方也都卖不出去。
That the only source of viable movies is a very narrow groups of writers
唯一会有人买单的作品是由一小部分编剧写出来的，
who have already found their way to living and working in Hollywood,
他们已经找到了在好莱坞生存和工作的方式
who already have the best representation in the business, and are writing a very narrow band of stories.
他们有了好的代表作，写出来的故事也仅涉及一个很小的范围。
And I'm somewhat embarrassed to admit, that that's where I found myself in 2005.
虽然有点尴尬，但我还是要承认，这是我2005年发现的事情。
Sitting in that office above Sunset Boulevard,
我坐在日落大道的办公室里，
staring down that metaphorical anonymized bookstore, and having read nothing but bad scripts for months.
看着那个想象中的没有名字的书店，好几个月里我看到的剧本都不怎么样。
And I took this to mean one of two things:
我觉得这意味着两件事中的一件：
either A: I was not very good at my job, which was, ostensibly, finding good scripts,
要么是一、我并不那么擅长做好我的工作，也就是找到好的剧本，
or B: reading bad scripts was the job.
或者是二、这份工作的内容本来就是读烂剧本。
In which case, my mother's weekly phone calls,
如果是这样的话，那我妈每周打来的电话，
asking me if my law school entrance exam scores were still valid was something I should probably pay more attention to.
会问我我的法学院入学考试成绩是否还有效，是我应该更关注的事情。
What I also knew was that I was about to go on vacation for two weeks,
我还知道我准备去度假两个星期，
and as bad as reading bad scripts is when it is your job, it's even more painful on vacation. So I had to do something.
如果读烂剧本就是我的工作，那我度假的时候也会很难受。于是我必须要做些什么了。
So late one night at my office,
所以某日深夜，在我的办公室，
I made a list of everyone that I had had breakfast, lunch, dinner or drinks with that had jobs similar to mine,
我列出了曾跟我一起吃过早饭、午饭、晚饭或喝过茶的每个人的名字，他们的工作跟我差不多，
and I sent them an anonymous email.
然后我给他们发了匿名邮件。
And I made a very simple request. Send me a list of up to 10 of your favorite screenplays that meet three criteria.
里面写了一个简单的请求。请把你心中满足下面三个要求的你最喜欢的10个剧本名字发给我。
One: you love the screenplay,
一、你很喜欢这个剧本；
two: the filmed version of that screenplay will not be in theaters by the end of that calendar year,
二、这个剧本在年底之前不会被拍成电影，
and three: you found out about the screenplay this year.
三、剧本是你今年看到的。
This was not an appeal for the scripts that would be the next great blockbuster,
这并不是要他们评选会引起巨大轰动的剧本
not an appeal for the scripts that will win the Academy Award,
也不是要选谁可以拿到奥斯卡金像奖，
they didn't need to be scripts that their bosses loved or that their studio wanted to make.
这些剧本不必是老板很喜欢的或者工作室想要拍成电影的剧本。
It was very simply an opportunity for people to speak their minds about what they loved, which, in this world, is increasingly rare.
这只是一个让他们说出自己真正喜欢的东西的机会，而这样的机会在这个世界平时少之又少。
Now, almost all of the 75 people I emailed anonymously responded.
到现在，几乎收到我匿名邮件的75个人全都回复了。
And then two dozen other people actually emailed to participate to this anonymous email address,
还有另外二十几个人回邮件说想加入这个匿名征集的活动中来，
but I confirmed that they did in fact have the jobs they claimed to have.
但我确定他们现在正在做的工作就是他们想要的。
And I then compiled the votes into a spreadsheet, ran a pivot table, output it to PowerPoint,
然后我把这些投票整理成一个电子表格，做了一个数据透视表，又做了PPT，
and the night before I left for vacation, I slapped a quasi subversive name on it
在我去度假的前一天晚上，我给它起了个准颠覆性的名字，
and emailed it back from that anonymous email address to everyone who voted.
然后用匿名邮箱发回给了参与投票的人。
The Black List. A tribute to those who lost their careers during the anti-communist hysteria of the 1940s and 50s,
黑名单。这个名字是对那些在20世纪40到50年代的反共产主义运动中丢了工作的人的一个致敬，
and a conscious inversion of the notion that black somehow had a negative connotation.
以及对人们对黑这个词所带有的感情色彩的颠覆。
After arriving in Mexico, I pulled out a chair by the pool, started reading these scripts
到了墨西哥以后，我在水池边拉过来一把椅子，开始看那些剧本，
and found, to my shock and joy, that most of them were actually quite good.
我又惊讶又开心的发现，其中大部分故事都很不错。
Mission accomplished. What I didn't and couldn't have expected was what happened next.
任务就这样完成了。我没有也没可能预料到的是接下来发生的事情。
About a week into my time on vacation, I stopped by the hotel's business center to check my email.
假期刚过去一周时，我被酒店的工作人员拦下，说要检查我的邮件。
This was a pre-iPhone world, after all.
那时还没有出现苹果手机。
And found that this list that I had created anonymously had been forwarded back to me several dozen times, at my personal email address.
我发现，在我的私人电邮中，那张匿名创建的清单已转发给我了许多次。
Everyone was sharing this list of scripts that everyone had said that they loved, reading them and then loving them themselves.
很多人在分享这份名单，大家都说他们读了这些故事并且很喜欢。
And my first reaction, that I can't actually say here,
我的第一反应在这里不方便细说，
but will describe it as fear, the idea of surveying people about their scripts was certainly not a novel or a genius one.
不过可以理解为害怕，调查人们喜欢的剧本的这个方法既不新鲜也不聪明。
Surely, there was some unwritten Hollywood rule of omertà
当然，好莱坞有类似的缄默潜规则
that had guided people away from doing that before that I was simply too naive to understand, it being so early in my career.
好让我们不要做这样的事，但我当时太天真了，完全没有留意到，我那时才刚工作不久。
I was sure I was going to get fired, and so I decided that day that A: I would never tell anybody that I had done this,
我认为我会被解雇，于是那一天我下了决定，A：我永远不会告诉别人这件事是我做的，
and B: I would never do it again.
B：这件事我不会再做第二次。
Then, six months later, something even more bizarre happened.
六个月之后，更奇怪的事情发生了。
I was in my office, on Sunset, and got a phone call from another writer's agent.
我那天在日落大道的办公室，接到了来自另一位编剧的经纪人的电话。
The call began very similarly to the call about "Superstorm": "I've got Leo's next movie."
他的开场白跟那个超级风暴的故事很像：“莱昂的下个剧本我来写。”
Now, that's not the interesting part. The interesting part was the way the call ended.
有意思的不是这个。有意思的是电话结束的方式。
Because this agent then told me, and I quote,
这个经纪人接下来的原话是这样说的：
"Don't tell anybody, but I have it on really good authority this is going to be the number one script on next year's Black List."
“不要告诉别人，我收到可靠消息说这个剧本会在明年的黑名单上会排第一。”
Yeah. Suffice it to say, I was dumbfounded.
无需多言，我被吓到了。
Here was an agent, using the Black List,
这位经纪人试图利用黑名单，
this thing that I had made anonymously and decided to never make again, to sell his client to me.
也就是我本人匿名制作并决定以后都不再更新的东西，来给我推销他的主顾。
To suggest that the script had merit, based solely on the possibility of being included on a list of beloved screenplays.
而这个剧本有其价值的基础完全在于它明年会登上观众最喜爱的剧本排行榜这件事。
After the call ended, I sat in my office, sort of staring out the window, alternating between shock and general giddiness.
电话结束后，我坐在办公室里，看着窗外，一会儿震惊，一会儿恍惚。
And then I realized that this thing that I had created had a lot more value than just me finding good screenplays to read over the holidays.
然后我意识到，我建立的这个东西的价值，并不仅仅在于我在假期里找些好看的剧本来读。
And so I did it again the next year -- and the "LA Times" had outed me as the person who had created it
于是我第二年又这么做了--《洛杉矶时报》曝光了我就是建立了这个榜单的人，
and the year after that, and the year after that -- I've done it every year since 2005.
之后第三年、第四年--从2005年起我每年都在做这件事。
And the results have been fascinating, because, unapologetic lying aside, this agent was exactly right.
结果都很好，先不说歉意，这个经纪人的想法很对。
This list was evidence, to many people, of a script's value,
对很多人来说，这个榜单就证明了剧本的价值，
and that a great script had greater value that, I think, a lot of people had previously anticipated.
而我认为好的剧本的价值比人们先前所设想的还要高。
Very quickly, the writers whose scripts were on that list started getting jobs, those scripts started getting made,
于是作品上了榜的编剧们很快都找到了工作，剧本也开始被拍成电影，
and the scripts that got made were often the ones that violated the assumptions about what worked and what didn't.
而能被拍成电影的故事很多都违背了人们通常认为的可以火的和不能火的判断标准。
They were scripts like "Juno" and "Little Miss Sunshine" and "The Queen" and "The King's Speech" and "Spotlight."
其中包括《鸿孕当头》、《阳光小美女》、《女王》、《国王的演讲》和《聚焦》这样的剧本。
And yes, "Slumdog Millionaire." And even an upcoming movie about Michael Jackson's chimpanzee.
当然还有《贫民窟的百万富翁》，甚至还包括即将上映的《迈克尔·杰克逊的大猩猩》。
Now, I think it's really important that I pause here for a second
现在，我觉得重要的是，我应该暂停一会儿，
and say that I can't take credit for the success of any of those movies.
我想说我并不应该因这些电影的成功而获得赞誉。
I didn't write them, I didn't direct them, I didn't produce them,
剧本不是我写的，电影不是我拍的，出品方不是我，
I didn't gaff them, I didn't make food and craft service -- we all know how important that is.
我也没有为它们做什么贡献，大家都知道这些很重要。
The credit for those movies, the credit for that success, goes to the people who made the films.
这些关于电影以及成功的赞誉，都应该给那些拍出电影的人。
What I did was change the way people looked at them.
我所做的只是改变了人们看待他们的方式。
Accidentally, I asked if the conventional wisdom was correct.
我只是碰巧询问了传统观点是否正确。
And certainly, there are movies on that list that would have gotten made without the Black List,
当然，有些剧本就算不上黑名单也会拍出来，
but there are many that definitely would not have.
但也有很多剧本没有这样的机会。
And at a minimum, we've catalyzed a lot of them into production, and I think that's worth noting.
至少我们帮助了其中一些登上大荧幕，这就很值得了。
There have been about 1,000 screenplays on the Black List since its inception in 2005.
从2005年开始，上黑名单的剧本有大概1000个。
About 325 have been produced. They've been nominated for 300 Academy Awards, they've won 50.
大约有325个被拍成了电影。获得了300项奥斯卡奖提名，拿到了50个奖项。
Four of the last nine Best Pictures have gone to scripts from the Black List,
最近9部获得最佳影片的电影中，有4个来自黑名单，
and 10 of the last 20 screenplay Oscars have gone to scripts from the Black List.
最近20部获得奥斯卡奖的电影中有10个来自黑名单。
All told, they've made about 25 billion dollars in worldwide box office,
他们的全球总票房是250亿美金，
which means that hundreds of millions of people have seen these films when they leave their homes,
这意味着有数百万人曾走出家门，
and sit next to someone they don't know and the lights go down.
坐在某个他们不认识的人身边，在灯光暗下之后看完这些电影。
And that's to say nothing of post-theatrical environments like DVD, streaming and, let's be honest, illegal downloads.
这还不包括不是在电影院看的次数，比如通过光碟、流媒体以及不得不承认的非法下载。
Five years ago today, October 15, my business partner and I doubled down on this notion
五年前的今天，10月15日，我和我的商业伙伴再次确认，
that screenwriting talent was not where we expected to find it,
能写出好剧本的人才并不是那么容易找到的，
and we launched a website that would allow anybody on earth who had written an English-language screenplay to upload their script,
于是我们搭建了一个网站，让世界上所有会写英文剧本的人把他们的作品上传上来
have it evaluated, and make it available to thousands of film-industry professionals.
进行评估，让成百上千的电影行业的专业人士都能看到。
And I'm pleased to say, in the five years since its launch, we've largely proved that thesis.
我可以很高兴的说，这个网站开始运行5年后，我们证明了我们的想法。
Hundreds of writers from across the world have found representation, have had their work optioned or sold.
数百位来自世界各地的编剧找到了代理人，让他们的作品获得了认可，或是将作品出售给别人。
Seven have even seen their films made in the last three years,
甚至有7个剧本就在近三年被拍了出来，
including the film "Nightingale," the story of a war veteran's psychological decline,
其中包括电影《夜莺》，他讲述了一位老兵的心理创伤，
in which David Oyelowo's face is the only one on screen for the film's 90-minute duration.
电影里大卫·奥伊罗是在90分钟内出现在荧幕上的唯一一张脸。
It was nominated for a Golden Globe and two Emmy Awards.
它还获得了一次金球奖和两次艾美奖的提名。
It's also kind of cool that more than a dozen writers who were discovered on the website
还有一个很酷的事儿，那就是十几个在这个网站上被发现的编剧，
have ended up on this end-of-year annual list, including two of the last three number one writers.
上了年终总结榜单，包括两个在榜单上名列前茅的编剧。
Simply put, the conventional wisdom about screenwriting merit -- where it was and where it could be found, was wrong.
仅仅用传统的标准来看待剧本的价值--在哪里以及在哪里可以发现--是错的。
And this is notable, because as I mentioned before,
这一点值得我们注意，因为就像我之前提到的那样，
in the triage of finding movies to make and making them, there's a lot of relying on conventional wisdom.
在寻找好剧本和拍电影的过程中，很多人会依赖于传统思维。
And that conventional wisdom, maybe, just maybe, might be wrong to even greater consequence.
而传统思维有可能，仅仅是有可能，会造成更坏的后果。
Films about black people don't sell overseas.
讲黑人故事的电影一般不会销往海外国家。
Female-driven action movies don't work, because women will see themselves in men, but men won't see themselves in women.
女性主导的动作片卖不出去，因为女性可以在男性身上看到她们的影子，而男性不会在女性身上找自己的影子。
That no one wants to see movies about women over 40.
没有人喜欢看讲40岁以上女人的电影。
That our onscreen heroes have to conform to a very narrow idea about beauty that we consider conventional.
我们屏幕上的英雄，必须遵循我们认为传统的关于美的狭隘观念。
What does that mean when those images are projected 30 feet high and the lights go down, for a kid that looks like me in Columbus, Georgia?
如果灯光暗下的时候，这些图像被投影到30英尺的空中，它对一个像我这样来自佐治亚州哥伦布的小孩来说意味着什么呢？
Or a Muslim girl in Cardiff, Wales?
对一个来自威尔士加迪夫的穆斯林小女孩意味着什么呢？
Or a gay kid in Chennai?
对一个来自金奈的同性恋者意味着什么呢？
What does it mean for how we see ourselves and how we see the world and for how the world sees us?
我们怎么看待自身和怎么看待世界，以及世界怎么看待我们，意味着什么呢？
We live in very strange times.
我们生活在一个奇怪的时代。
And I think for the most part, we all live in a state of constant triage.
我们一生中的大部分时间都活在不断优先分配的情况下。
There's just too much information, too much stuff to contend with.
有太多的信息，太多的事情需要面对。
And so as a rule, we tend to default to conventional wisdom.
所以我们把墨守成规当成理所当然。
And I think it's important that we ask ourselves, constantly,
我却觉得，重要的是我们要经常问问自己，
how much of that conventional wisdom is all convention and no wisdom?
在传统智慧中，有多少都是传统却没有智慧的？
And at what cost? Thank you.
所付出的代价又有多少？谢谢。
