– 英语/中文 双语歌词

歌词与翻译

[中文]

创造出一套规则、准则或原则是很难的，

特别是在创意协作方面。

这种协作的化学反应因场景而异，

你懂吗？我的意思是，我拍了

know? I mean, I've made

大约50部电影，我不确定

是否有一种单一的方法论

能创造出

一种有效或积极的

协作。不同的人工作方式

大相径庭。你知道，你确实需要

领导力，这种领导力是指

需要有人能够建立起

creates the

一个框架，让大家在其中工作，

并且

阐明

目标，以及在某种意义上阐明

如果存在你想要遵循的

原则或价值观的话。

我认为人们其实非常有

适应力、可塑性强，可以对多种工作方式

感到兴奋，

但我确实认为领导力有时在于

about

让人们在初期阶段

调频到相同的

频道，这样你才能得到，

怎么说呢，我不想说

最快乐的，但你能得到一种有效的

协作。

我有一些非常

that

鼓舞人心的创作经历。我的意思是，和

with someone like

亚历杭德罗·伊纳里图合作《鸟人》时，他在

我们开始之前，就把整个过程

started to uh

比作菲利普·珀蒂在世贸中心之间

走钢丝，

而且没有安全网。他确立了

这是一场冒险，长镜头电影的想法

可能不会成功，

但这值得一试，将自己置于

that putting ourselves out

没有退路的境地，

反而能产生

有趣的效果。我想他把大家

think he got he got everybody pulled

团结在了创意冒险这个理念周围。

risk taking.

奥利维亚·王尔德最近在

我们拍摄的电影《亲爱的别担心》中也做了同样的事。

She

她用了一句我非常喜欢的话，她说：

"We're going to stitch the parachute on

the way down

并坚信它一定会打开。”

我认为她想表达的是，她愿意在

is that she was willing to set out on

不知道结局的情况下

开启这段旅程，

我们会在拍摄过程中

to find

去寻找故事的终点。

end of the story and route to making it

that she kind of gave us a scenario. She

要求我们将对角色的理解融入其中，

并允许我们不必精确地知道

permitted us to not know precisely where

我们要去向何方。

这不再是“不确定性”，而变成了“探索”。

into discovery. You know, and discovery

你知道，探索是有趣的、至关重要的，让人感觉充满活力。

你可以用同样的境况，

但如果每个人都感到不安，

或者觉得“我不确定我们在做什么”或“我们不是应该知道该做什么吗？”，

doing or aren't we supposed to know what

we're doing,

那么产生的反馈循环就会截然不同。

所以，即使是同样的场景，

same scenario and the way that you frame

你向人们表达它的方式，

to people can make it a positive an

可以决定它是带来积极的还是

消极的情绪反馈。

我认为优秀的领导者会

传达参与规则，

传达你们即将采用的工作模式，

因为这样人们就会对自己说：“哦，原来我们应该感到不确定。

say themselves, "Oh, that's what we're

supposed to feel uncertain. Feeling

感到不确定是件好事。”

“为什么不试试呢？我会把设备装进去，

it in I'll come in in the night.

我们免费安装。

free.

如果你不喜欢，你知道，

我们可以把它拆掉。”

Um we'll we'll we'll take it away and

“你有何损失呢？”人们通常会说：“好吧。”

got to lose? And people would sort of

say, "Okay." And as soon as he

我很喜欢迈克·布隆伯格那种形象，

Bloomberg in with carpet, you know,

亲自掀开地毯，跑线，

安装早期的终端设备。

但他曾说，一旦人们用上了，

they

他们就再也离不开了。

up, you know, and that and today people

直到今天，人们依然对布隆伯格终端的数据流有依赖。

Bloomberg terminal data feeds. But I I

但我认为，

如果你能把想法包装成一种可以尝试的事物，

have as something that can be tried, you

用一种“有什么损失呢？”的心态，

have you got to lose, you know, or what

have we got to lose?

这虽然不一定会成功，但却是一个不错的推销方式。

it's not a bad pitch. Like the idea of

就像是说：“嘿，让我试一下，

this for a minute and and in a sense

在某种意义上向你证明它。”

当我和那些比较刻板的导演合作时，

tight,

um

他们脑子里总有一盘

a video tape in their head of the way

预设好的录像带，

you know, the great thing about film is

但电影的伟大之处在于，就像我们现在这样，可以多次拍摄，对吧？

takes, right? And it's like, "Why don't

我会说：“为什么不让我……”

我过去常说，如果有人因为我的表演思路

was really giving me friction around an

idea

而和我产生摩擦，

我会说：“听着，让我拍几条。

let me have a few. Just just give me a

就让我尝试一下这个想法。”

当我拍完后，

如果你想要不一样的风格，那就过来说：

white, then come in and say,

“很好，我们拍到了刚才的版本。能按我的要求再来一遍吗？”

white?" And you know, and I've already

我已经尝试过我的想法了。太好了，那我们再试另一种。

let's try another one, you know, let's

try something else. Um

我喜欢将我的全部能力投入到

force

任何想法中，因为这是一个很有趣的过程。

any idea because it's it's a fun

exercise. But sometimes, um

有时，作为演员，我也请求对方给我一点空间，

asked for sort of just enough rope

让我能把想法发挥出来，然后再叫停。

before you you you you shut it down. And

通常，如果你这样向对方表达，

to someone that way

让他们意识到你只是在提供选择，

them is options, then maybe you can get

那么即便是那些喜欢微观管理的负面情绪，

someone who's negatively micro-managing

也可以被引导

转化为对他们自身有益的方案选择。

themselves.

我几乎从未独自开启过任何事业。在电影行业，这不可能。

by myself. I mean, you can't in film.

我写过剧本，

但我创办的每一家公司

I've done it with partners. Not people I

都是与合伙人一起完成的。不是雇来的优秀员工，而是合伙人。

partners. Like

对我来说，“1+1+1=10”一直是一个致胜公式。

has always been a winning formula. I

我非常看重合伙人的价值，而且我认为我很擅长挑选他们。

intrinsically and I think I've been

pretty good at picking them. I think you

你必须非常谨慎地选择你的合伙人，我非常幸运。

really carefully and I've been really

really lucky. I've worked with and I've

我和一些人合作过多个项目，

multiple enterprises because my

因为体验很好，我们都想再合作。

do it again.

这是事实。当然在电影制作中，

filmmaking, you build you build

你会建立起一种信任，让你觉得：“天哪，我再也不想在没有她在道具组、

don't ever want to go to battle again

没有他在制作设计组的情况下工作了。”

production design or without you know, I

你会建立起你的团队。

a team that you can

但有时你也会根据项目的特殊需求，

the bespoke needs of a project and you

know

去寻找具备特定技能的人。

specific

很有趣，虽然现在是2026年，但我认为沟通

2026 but I still think conversation

仍然是人与人之间的交流，确定

to determine whether

是否与某人合拍的最快方法，就是提问。

questions.

Um

很有趣。我随着时间学到的一点是，

I've kind of learned over time is

obviously I can be

我很清楚我能表达自己的观点，

thing, but if you're really trying to

但如果你真的在招募人才，想弄清楚这是否是合适的人选，

figure out is this the right person for

me? Sometimes you got really got to

有时你真的得学会闭嘴。你知道吗？

I mean? And and and in a way make sure

你要确保留出空间，

看别人如何填补这个空间，

因为这是了解他们实力的唯一途径。

going to learn

what they've got, you know? I mean

如果你解释得太多，任何人都会顺着你说。

explain what you're looking for. I think

我认为如果你

if you if you [music]

留出足够多的空白，你会看到别人如何填补它，

what someone else fills it with and

你会学到更多。

[英语]

It's hard to create

rules or maxims or principles around

creative collaboration. The chemistry of

it is so specific to each scenario, you

know? I mean, I've made

I've made like 50 films, and I'm not

sure that there's a single methodology

for creating a

an ef- an effective or positive

collaboration. Different people work in

very different ways. You know, you need

you need leadership in the sense that

you need someone who almost

creates the

the frame in which you're inside which

you're all working and

articulates

the goals and articulates in some sense

if there are principles or values

that you want to work within.

I think people are actually very

adaptable, very malleable, and can get

excited about lots of ways of working,

but I do think leadership is sometimes

about

getting people tuned into the same

frequency

at the front end so that you can get

the you know, um I don't want to say

happiest, but you can get a effective

collaboration.

I've had certain creative experiences

that

were really inspiring. I I mean, working

with someone like

Alejandro Iñárritu on Birdman, where he

analogized to the process before we even

started to uh

Philippe Petit walking on the the the

wire between the World Trade Centers

without a net. He He established that it

was going to be risky, that the idea of

a film in one take might not succeed,

but that it was worth going for, that

that putting ourselves out

into a position where there wasn't a

workaround was going to produce

something interesting. And he And I

think he got he got everybody pulled

together around the idea of creative

risk taking.

Olivia Wilde did that really recently on

this film The Invitation that we did.

She

She used a phrase I love. She said,

"We're going to stitch the parachute on

the way down

with the faith that it's going to open."

And I think what she meant in that case

is that she was willing to set out on

the journey

without knowing what the the end of the

story was going to be that we were going

to find

that we were going to actually find the

end of the story and route to making it

that she kind of gave us a scenario. She

asked us to bring our own ideas about

our characters into the mix and

permitted us to not know precisely where

we were going.

Instead of uncertainty, it turned it

into discovery. You know, and discovery

is fun and vital and feels alive and you

could take the same set of circumstances

and if everybody feels like you know,

insecure or I don't know what we're

doing or aren't we supposed to know what

we're doing,

it has a very different feedback loop

that gets created. So, you can have the

same scenario and the way that you frame

it

to people can make it a positive an

emotional positive versus an emotional

negative.

A good leader I think communi-

communicates the rules of engagement,

communicates the modality that you're

going to work in because then people can

say themselves, "Oh, that's what we're

supposed to feel uncertain. Feeling

uncertain is good."

>> I mean, why don't you try it? I'll put

it in I'll come in in the night.

We'll put them in. We'll put them in for

free.

And if you don't like it, you know,

we'll take it away.

Um we'll we'll we'll take it away and

you know, what have you what have you

got to lose? And people would sort of

say, "Okay." And as soon as he

And I I mean, I love the image of Mike

Bloomberg in with carpet, you know,

pulling up carpets and getting cables

run and putting his early terminals in.

But he said once they got on it, then

they

then they would then they never gave it

up, you know, and that and today people

still people are addicted to their

Bloomberg terminal data feeds. But I I

think that

if you can frame up like an idea you

have as something that can be tried, you

know, at like like almost like the what

have you got to lose, you know, or what

have we got to lose?

It's it's not always going to work, but

it's not a bad pitch. Like the idea of

saying, "Hey, will you let me run with

this for a minute and and in a sense

prove it to you."

When I've worked with directors who are

tight,

um

who have in some sense

a video tape in their head of the way

something's going to go,

you know, the great thing about film is

just like we're doing here, you can do

takes, right? And it's like, "Why don't

you just let me

I I used to use the line like if someone

was really giving me friction around an

idea

I had about a way to play something, I'd

just say, "Look, you know,

let me have a few. Just just give me a

few to just run an idea.

And when I'm done with the idea, then,

you know, if I did black and you want

white, then come in and say,

"Great, we've got black. Can I have

white?" And you know, and I've already

get I've I've tried my idea. Great,

let's try another one, you know, let's

try something else. Um

I like to I mean, I like to put the full

force

of whatever my capabilities are behind

any idea because it's it's a fun

exercise. But sometimes, um

sometimes I've even as an actor I've

asked for sort of just enough rope

just enough rope to tease an idea out

before you you you you shut it down. And

usually And again, usually if you put it

to someone that way

and they realize that all you're giving

them is options, then maybe you can get

someone's

someone who's negatively micro-managing

can be encouraged to

to see it as positive optionality for

themselves.

I've almost never started any enterprise

by myself. I mean, you can't in film.

I've written things

but every business I've ever started

I've done it with partners. Not people I

hired who were good, but with with

partners. Like

to me like 1 + 1 + 1 = 10 is like

has always been a winning formula. I

val- you know, I value partners

intrinsically and I think I've been

pretty good at picking them. I think you

know, you have to pick your partners

really carefully and I've been really

really lucky. I've worked with and I've

worked with a number of people on

multiple enterprises because my

experience was so good and we wanted to

do it again.

And that's true. Certainly in

filmmaking, you build you build

people who you're like, "Oh man, I I

don't ever want to go to battle again

without her on props or without him on

production design or without you know, I

mean, you you build your team. You build

a team that you can

uh but but then other times you look at

the bespoke needs of a project and you

know

you're looking for someone with a real

specific

set of skills. It's funny, I mean, it's

2026 but I still think conversation

we're still people and the fastest way

to determine whether

you vibe with someone is it's to ask

questions.

Um

you know, I mean, it's funny. One thing

I've kind of learned over time is

obviously I can be

I'm I I I can say what I think about a

thing, but if you're really trying to

recruit people and you're trying to

figure out is this the right person for

me? Sometimes you got really got to

learn to when to shut up. You know what

I mean? And and and in a way make sure

that you know, you leave the space open

and see how other people fill the space

cuz it's really the only way you're

going to learn

what they've got, you know? I mean

anybody can sort of yes you if you over

explain what you're looking for. I think

if you

if you if you [music]

leave a lot of empty space, you'll see

what someone else fills it with and

you'll learn a lot more.

重点词汇

词汇	含义
maxim /ˈmæksɪm/ C2	noun - 格言
methodology /ˌmeθəˈdɒlədʒi/ C1	noun - 方法论
articulate /ɑːˈtɪkjuleɪt/ C1	verb - 清晰地表达
malleable /ˈmæliəbl/ C2	adjective - 可塑的
analogized /ˈænələˌdａɪzd/ C1	verb - 类比
uncertainty /ʌnˈsɜːrtnti/ B2	noun - 不确定性
vital /ˈvaɪtl/ B2	adjective - 至关重要的
modality /moʊˈdæləti/ C2	noun - 模态
bespoke /bɪˈspoʊk/ C1	adjective - 定制的
intrinsically /ɪnˈtrɪnzɪkli/ C1	adverb - 本质地
enterprise /ˈentərpraɪz/ B2	noun - 企业
optionality /ˌɒpʃəˈnæləti/ C2	noun - 选择性

重点语法结构

• I'm not sure that there's a single methodology for creating an effective or positive collaboration.

  ➔ 带有复杂名词短语的存在句 'there is'

  ➔ 用于在专业语境中断言某个概念的存在（或缺乏）。

• You need someone who almost creates the frame in which you're inside which you're all working.

  ➔ 带介词的关系从句

  ➔ 'in which' 是一种将环境与行动联系起来的正式表达方式。

• He established that it was going to be risky.

  ➔ 过去将来时 (was going to)

  ➔ 描述从过去的角度所做的计划或预测。

• She was willing to set out on the journey without knowing what the end of the story was going to be.

  ➔ 形容词 + 不定式 (willing to) + 介词后的动名词

  ➔ 'Willing to' 表示意愿，'without knowing' 在介词后使用了动名词。

• Instead of uncertainty, it turned it into discovery.

  ➔ 短语动词 'turn into' + 名词

  ➔ 用于描述从一种状态到另一种状态的转变过程。

• If you don't like it, we'll take it away.

  ➔ 第一条件句 (If + 现在时, will + 动词原形)

  ➔ 用于真实且可能发生的未来情况。

• I've almost never started any enterprise by myself.

  ➔ 带有频率副词的现在完成时

  ➔ 将人生经历与当下时刻联系起来。

• The fastest way to determine whether you vibe with someone is to ask questions.

  ➔ 最高级形容词 + 作为主语补足语的不定式

  ➔ 使用最高级来聚焦最有效的策略。