沒想到《阿凡達：水之道》的導演詹斯·卡梅隆（James Cameron）竟然在知乎也有賬號。
2010年上映的第一部《阿凡達》曾刷新當年中國票房紀錄，首映獲13.39億票房，2021年3月重映仍獲3.75億票房，累計票房17.15億元。作為經典大IP的續作，《阿凡達：水之道》自上映以來引發熱議不斷，一眾影迷期待值拉滿。根據此前平台數據預測，《阿凡達2》上映前媒體票房預測在22億元至33億元，有希望打破近3年進口片票房紀錄。還有業內人士預測，《阿凡達2》票房最終有望衝擊30億元。
貓眼專業版數據顯示，《阿凡達2》自12月16日上映以來，已累計超過4.5億的票房。由此可見中國的電影市場在好萊塢導演心目中是舉足輕重的。
在「如何評價詹姆斯·卡梅隆導演的新片《阿凡達：水之道》？」的問題下，詹姆斯·卡梅隆親自下場解讀了他的新作。以下是他回答的全文，前半部分是英文，後面是中文翻譯。
Thanks for the invitation of Zhihu.
To facilitate more Zhihu netizens to read, I specially invited the Zhihu team to translate my answers into Chinese, and the following answers will be presented in both Chinese and English.
I think "Avatar: The Way of Water" is an adventure first and foremost it's very emotional, it's more emotional than the first film. I think it focuses more on character and relationship dynamics than the first film did, but it definitely delivers on the spectacle and my love of oceans. It』s a family story and an emotional story, a love letter to family and how family makes you stronger. It is not a film that beats you over the head with its message, but it asks you to feel for the ocean and then maybe a few people can translate that into action, containing a strong environmental message.
Compared to the first film, Jake and Neytiri fall in love in the first movie, so obviously the first one is about a love story. The natural progression of Jake and Neytiri was for them to start a family, raising children in a time of war and great turmoil. You can still find joy while teaching them (the children) skills to stay alive, questions human greed in mining or extraction projects.
The second film talks about the exploitation of the ocean. "Avatar: The Way of Water" centers on Jake Sully and Neytiri, now parents to five children, who try to protect their family from a new threat to Pandora. They seek refuge with the oceanic Menkalinan clan and learn the way of water to survive.
The oceans are very important to me. I』ve been passionate about the ocean before I ever met the ocean. I learn to scuba dive in rural Canada, and I love to what it means to us symbolically. Subconsciously we all know that the ocean is like our mother. At least by making a film, I can give something back from the standpoint of conservation and preservation of the ocean. "Avatar 2" combines two great loves of my life: the movie telling stories with pictures, and the ocean. Everything just happened naturally.
I am also very proud that we have captured the facial performance of non-human characters. These characters are similar to us, but not human beings. This effect is not achieved through makeup, but a character generated by CG. We hope that the effect of the character is 100% real, and at the same time, the emotion expressed by the actor is 100% conveyed.
People say - my work is often the most expensive and most ambitious production to date. And if the current filmmaking technology doesn』t match my vision, we have to create our own technology. When we made "Avatar" it was a quantum leap forward in performance capture photography. And now with "Avatar 2", I and our team have done it once again. This is "how we shot it", we try our 110% off what we can do. In this series, we』ve covered movies like "Titanic","Top Gun：Maverick", and have done everything, everywhere, all at once.
We』ll be using Studio Binder shot list feature fully populate our shot spaces. I had been dreaming of "Avatar" for decades. I wrote the original treatment before making "Titanic", but the technology at the time could not match my vision. I was on a quest for the Holy Grail. The Holy Grail was to be able to reproduce full human emotion in a CG character. So, I waited, and over the next few years, I over saw the development of the tech and processes required.
In 2007, we finally cracked the code. For my sci-fi epic, three different camera systems were used for three different shooting scenarios. CG Performance Capture. Live action. And a hybridof the two. The fist was a virtual system used for motion capture scenes. Basicmotion capture technology works like this. Actors wear suits with makers thatreflect infrared light back to stationary cameras. While HD reference cameras provided animators with detailed coverage to complete the physical performance, a reported 120 stationary cameras captured the actor's positions and movements.
Once the performance capture was complete, the crew packed up and headed to New Zealand to shoot all the live-action footage with the Fusion 3D Camera. The Fusion camera rig had two Sony F950s cameras to shoot native 3D. This meant that one camera shot left eye footage and the other shot footage for the righteye. This creates a more natural 3D affect that matches our own vision.
"Avatar" saw a leap forward in technology and filmmaking. And 13 years later, I and my team did it again for the sequels. Following the first film, the sequels would be shot in 3D. But what about shooting 3D underwater? The camera options were three times larger and difficult to operate. The beauty of it, if you can solvethe water, then you will never worry about it anymore. You can do everything and have freedom with it.
The key to do was - to shoot really underwater and really at the surface of thewater, so people were swimming properly.you know, and they were taking their own way to get out of the water properly or diving properly and it just looks like real because the motion was real. Because these kids have to learn how to be underwater, they don't know how to be underwater, they were raised in theforest, their fear factor probably helped. Although everybody was very well trained and we used a very safe and systematic way to allow them to dive, they were all scuba trained. But we didn't use scuba, so they got used to being underwater for long periods of time and we went to Hawaii, and we got everybody on scuba we're also doing free diving training at the same time.
The more you expand you disbelieve, the more you will enjoy the fantasy. We are all join hands and skip off to Pandora together.
感謝知乎的邀請。
為了方便更多的知乎網友閱讀，我特別邀請知乎團隊將我的回答翻譯成中文，以下回答將以中英文對照的形式呈現。
我認為《阿凡達:水之道》首先是一次歷險，它飽含情感，甚於前作。我認為它比第一部電影更注重人物性格和關係的變化，並透過奇觀傳遞了我對海洋的熱愛。這是一則關於家庭的感人故事，一封寫給家人的情書，展示了家庭如何讓一個人變得更強大。這不是一部向你大腦中灌輸信息的電影，而是需要你感受海洋，或許可將感動轉化為行動，傳遞了強烈的海洋環保信息。
相比之下，電影的前作中，傑克和奈蒂莉墜入愛河，很明顯是關於愛情的故事。傑克與奈蒂莉的關係逐漸發展，在充滿戰爭與動蕩的時期組建家庭，撫養孩子。教他們（孩子們）生存技能的過程充滿樂趣，同時可揭示人類在資源開採項目中的貪婪無度。
第二部電影則討論了海洋開發的問題。《阿凡達:水之道》主要講述了傑克·薩利和奈蒂莉——身為五個孩子的父母，他們試圖保護家庭，應對潘多拉星球面臨的新威脅。 他們向海洋Menkalinan部落尋求庇護，並學習水中生存之道。
海洋對我來說意義非凡。甚至在我與海洋未曾謀面之前，就已對海洋充滿熱愛。我在加拿大偏遠的地方學習了水肺潛水，我喜愛它蘊含的象徵意義。潛意識裡，我們都認為海洋如同母親。至少通過拍這部電影，我可以從海洋環境保護的角度作出回饋。《阿凡達2》融合了我畢生兩大摯愛：以畫面敘事的電影和海洋。於是一切就這樣自然發生了。
令我自豪的是，我們捕捉到了非人類角色的面部表情。這些角色與我們相似，但不是人類。這種效果不是通過化妝實現，而是通過CG生成的角色展示。我們希望角色的效果百分百真實，同時演員表達的情感也得到百分百傳達。
人們常說，我的作品往往是迄今為止最昂貴、最富野心的大製作。如果當下電影製作技術達不到我設想的效果，我們就必須自己創造技術。當我們拍第一部《阿凡達》時，它帶來性能捕捉攝影的一次巨大技術飛躍。現在通過《阿凡達2》，我和團隊又一次做到了創造技術。這就是我們拍攝它的方法，我們的團隊永遠付出110%的努力。我們將《泰坦尼克號》《壯志凌云：獨行俠》等電影融入這一系列，並且天馬行空，一氣呵成。
我們將使用Studio Binder 的快照列表功能完全填充我們的鏡頭空間。幾十年來，我一直夢想着拍出《阿凡達》。在製作《泰坦尼克號》之前，我寫了最初的故事大綱，但當時的技術無法實現我想像的畫面。我在尋找聖杯（追尋夢想）。這聖杯就是通過CG角色中再現完整的人類情感。所以，在接下來的幾年裡我一直等待，時刻關注並觀察着所需技術的發展。
2007年，我們終於破解了密碼。在這部科幻史詩中，CG動作捕獲、真人表演以及兩者的混合體，這三種不同的攝影系統被用於三種不同的拍攝場景。FIST是一個用於動作捕捉場景的虛擬系統。動作捕捉技術基本工作原理是這樣的：演員們穿着一種特殊服裝，其能將紅外光反射回固定攝像機。與此同時，高清參考攝像機為動畫師提供了完整動作表演的詳細覆蓋範圍，120個固定攝像機用來捕捉演員的位置和動作。
表演部分拍攝完成後，工作人員收拾行裝前往新西蘭，用Fusion 3D攝像機拍攝所有的真人鏡頭。Fusion Camera Rig包含兩台索尼F950s相機，用於拍攝原生3D。這意味着一台攝像機拍攝左眼鏡頭，另一台攝像機拍攝右眼鏡頭。這最終創造出與我們雙眼視覺效果更自然匹配的3D畫面。
《阿凡達》見證了電影製作技術的飛躍。13年後，我和我的團隊又在續作中再次實現飛躍。延續前作，續作以3D形式拍攝。但若是在水下拍攝3D呢？攝像機選項是普通攝像機的三倍之多，難以操作。但它的美妙之處在於，如果你能解決水的問題，那麼你就再也不必擔心其它了。你可以拍攝與水相關的任何事情，並且隨心所欲。
該片的重點是要在海底和海水表面上拍攝，以展現人們自由自在地在海中暢遊。也就是說，他們要以自己的方式自如地躍出水面或潛入水中且非常逼真，因為這確實來自真實的動作。因為這些（傑克和奈蒂莉的）孩子必須學習如何在水下生存，他們成長於潘多拉森林，不會潛水，對水恐懼因素正好被表現得恰如其分。我們讓每個演員都接受良好的水上訓練，並使用了非常安全和系統的方式讓他們學習潛水。他們都受過水肺潛水訓練。但在拍攝時我們沒有使用水肺，而是使他們習慣了在水下自然地待很長一段時間。我們去到夏威夷，並讓每個演員在水肺潛水同時也進行了自由潛水訓練。
拋掉越多心中的懷疑，就越能暢遊幻想世界。就讓我們攜起手來，一起躍入潘多拉星球吧。
詹姆斯·卡梅隆（James Cameron），1954年8月16日出生於加拿大安大略省，好萊塢電影導演、編劇。
1981年，執導首部電影《食人魚2:繁殖》。1984年，因自編自導科幻電影《終結者》成名。1986年，自編自導電影《異形2》。1991年，憑藉電影《終結者2》獲得第18屆土星獎最佳導演獎以及最佳編劇獎。1994年，執導電影《真實的謊言》。1997年，他執導的電影《泰坦尼克號》取得了18.4億美元的票房，打破全球影史票房紀錄；該片在第70屆奧斯卡金像獎上獲得了包括最佳影片在內的11個獎項，詹姆斯·卡梅隆憑藉該片獲得了奧斯卡獎最佳導演獎 。
2005年，他被英國雜誌《Empire》評為「世界最偉大的20位導演之一」。 2009年12月，他執導的科幻電影《阿凡達》上映，該片全球總票房超過27億美元，再次打破了由他自己保持的全球影史票房紀錄 。2010年，入選《時代周刊》評出的「全球最具影響力人物」；同年他獲得美國視覺效果工會獎終身成就獎。
（圖片來源於網絡搜索，侵刪）
