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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，把这两次经验连结在一起，对电影艺术家来说，这将会是一个全新的世界，一个全新的充满创造力的世界。所以我和好友斯坦·温斯顿开了一家公司，名字叫Digital Domain。斯坦·温斯顿是顶尖的化妆师和人物造型设计师。这家公司的理念是：我们会跳过类似光学冲印的过程，直接进入数字制作。事实上我们确实那么做了，而且这让我们有了一段时间的竞争优势。
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，我发现我们在生物设计和角色设计上落后了，而这本来是我们创建公司的目的。我写《阿凡达》这个作品就是想要推动整个视觉体验以及动画效果的进步，让电影人物跳出人们想象的框架。电影中的主要人物都是电脑图形，世界也是电脑图形。但是这个想法被反驳了。我公司的员工告诉我，我们短时间内还做不到。
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《阿凡达》放在了一边，转而制作了另一部关于巨轮沉没的电影。你知道，我去找制片公司简单解释说这是船上的“罗密欧与朱丽叶”，这将会是个史诗般的爱情故事，是一部充满热情的电影。说心里话，我其实只是想要潜到真正的泰坦尼克号残骸里去，这才是我拍片的真正理由。这是真的。那时，制片公司并不知道。但我说服了他们。我说：“我们将会潜入沉船拍摄真实画面，我们要把它用在电影的开场，这很重要，这将是很好的营销策略。”于是我说服了他们赞助这次探险。
