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So, you know, drawing a line through those two dots of experience, came to, this is going to be a whole new world, this was a whole new world of creativity for film artists. So, I started a company with Stan Winston, my good friend Stan Winston, who is the premier make-up and creature designer at that time, and it was called Digital Domain. And the concept of the company was that we would leap-frog past the analog processes of optical printers and so on, and we would go right to digital production. And we actually did that and it gave us a competitive advantage for a while.
所以，你知道，把這兩次經驗連結在一起，對電影藝術家來說，這將會是一個全新的世界，一個全新的充滿創造力的世界。所以我和好友斯坦·溫斯頓開了一家公司，名字叫Digital Domain。斯坦·溫斯頓是頂尖的化妝師和人物造型設計師。這家公司的理念是：我們會跳過類似光學沖印的過程，直接進入數字制作。事實上我們確實那么做了，而且這讓我們有了一段時間的競爭優勢。
But we found ourselves lagging in the mid 90's in the creature and character design stuff that we had actually founded the company to do. So, I wrote this piece called "Avatar," which was meant to absolutely push the envelope of visual effects, of CG effects, beyond, with realistic human emotive characters generated in CG. And the main characters would all be in CG. And the world would be in CG. And you know the envelope pushed back. And I was told by the folks at my company that we weren't going to be able to do this for a while.
但是在90年代中期，我發現我們在生物設計和角色設計上落后了，而這本來是我們創建公司的目的。我寫《阿凡達》這個作品就是想要推動整個視覺體驗以及動畫效果的進步，讓電影人物跳出人們想象的框架。電影中的主要人物都是電腦圖形，世界也是電腦圖形。但是這個想法被反駁了。我公司的員工告訴我，我們短時間內還做不到。
So, I shelved it, and I made this other movie about a big ship that sinks. And you know, I went and pitched it to the studio as "Romeo and Juliet on a ship." It's going to be this epic romance, passionate film. Secretly, what I wanted to do was I wanted to dive to the real wreck of Titanic. And that's why I made the movie. And that't the truth. Now, the studio didn't know that. But I convinced them. I said, "We're going to dive to the wreck. We're going to film it for real. We'll be using it in the opening of the film. It will be really important. It will be a great marketing hook." And I talked them into funding an expedition.
所以我把《阿凡達》放在了一邊，轉而制作了另一部關于巨輪沉沒的電影。你知道，我去找制片公司簡單解釋說這是船上的“羅密歐與朱麗葉”，這將會是個史詩般的愛情故事，是一部充滿熱情的電影。說心里話，我其實只是想要潛到真正的泰坦尼克號殘骸里去，這才是我拍片的真正理由。這是真的。那時，制片公司并不知道。但我說服了他們。我說：“我們將會潛入沉船拍攝真實畫面，我們要把它用在電影的開場，這很重要，這將是很好的營銷策略。”于是我說服了他們贊助這次探險。
