Avatar 卡梅隆演讲——《阿凡达》之前的好奇小男孩

第一篇：Avatar 卡梅隆演讲——《阿凡达》之前的好奇小男孩

I grew up on a steady diet of science fiction.In high school I took a bus to school an hour each way every day.And I always absorbed in a book, science fiction book, which took my mind to other worlds, and satisfied, in a narrative form, this insatiable sense of curiosity that I had.And you know that curiosity also manifested itself in the fact that whenever I wasn’t in school I was out in the woods, hiking and taking “samples,” frogs and snakes and bugs and pond water, and bring it back, looking at it under the microscope.You know, I was a real science geek.But it was all about trying to understand the world, understand the limits of possibility.And my love of science fiction actually seemed to mirrored in the world around me, because what was happening, this was in the late’60s, we were going to the moon, we were exploring the deep oceans.Jacques Cousteau was coming into our living rooms with his amazing specials that showed us animals and places and a wondrous world that we could never really have previously imagined.So, that seemed to resonate with the whole science fiction part of it.And I was an artist.I could draw.I could paint.And I found that because there weren’t video games and this saturation of CG movies and all of this imagery in the media landscape, I had to create these images in my head.You know, we all did, as kids having to read a book, and through the author’s description put something on the movie screen in our heads.And so, my response to this was to paint, to draw alien creatures, alien worlds, robots, spaceships, all that stuff.I was endlessly getting busted in math class doodling behind the textbook.That was, the creativity had to find its outlet somehow.And an interesting thing happened, the Jacques Cousteau shows actually got me very excited about the fact that there was an alien world right here on earth.I might not really go to an alien world on a spaceship someday.That seemed pretty darn unlikely.But that was a world I could really go to, right here on Earth, that was as rich and exotic as anything that I had imagined from reading these books.So, I decided I was going to become a scuba diver at the age of 15.And the only problem with that was that I lived in a little village in Canada, 600 miles from the nearest ocean.But I didn’t let that daunt me.I pestered my father until he finally found a scuba class in Buffalo, New York, right across the border from where we live.And I actually got certified in a pool in a YMCA in the dead of winter in Buffalo, New York.And I didn’t see the ocean, a real ocean, for another two years, until we moved to California.Since then, in the intervening 40 years, I’ve spent about 3,000 hours underwater, And 500 hours of that were in submersibles.And I’ve learned that that deep ocean environment, and even the shallow oceans, are so rich with amazing life that really is beyond our imagination.Nature’s imagination is so boundless compared to our own meager human imagination.I still, to this day, stand in absolute awe of what I see when I make these dives.And my love affair with the ocean is ongoing, and just as strong as it ever was.But, when I chose a career, as an adult, it was film making.And that seemed to be the best way to reconcile this urge I had to tell stories, with my urges to create images.And I was, as a kid, constantly drawing comic books, and so on.So, film making was the way to put pictures and stories together.And that made sense.And of course the stories that I chose to tell were science fiction stories: “Terminator,” “Aliens,” and “The Abyss.” And with “The Abyss,” I was putting together my love of underwater and diving, with film making.So, you know, merging the two passions.Something interesting came out of “The Abyss,” which was that to solve a specific narrative problem on that film, which was to create this kind of liquid water creature, we actually embraced computer generated animation, CG.And this resulted in the first soft-surface character, CG animation that was ever in a movie.And even though the film didn’t make any money, barely broke even, I should say, I witnessed something amazing, which is that the audience, the global audience, was mesmerized by this apparent magic.You know, it’s Arthur Clark’s law that any sufficiently advanced technology is indistinguishable from magic.They were seeing something magical.And so that got me very excited.And I thought, “wow, this is something that needs to be embraced into the cinematic art.” So, with “Terminator2,” which was next film, we took that much farther.Working with ILM, we created the liquid metal dude in that film.The success hung in the balance on whether that effect would work.And it did.And we created magic again.And we had the same result with an audience.Although we did make a little more money on that one.So, 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 S W, 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.But we found ourselves lagging in the mid’90s 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 envelop 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 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.So, I shelved it, and I made this other movie about a big ship that sinks.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 move.And that’s 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.Sounds crazy.But this goes back to that theme about your imagination creating a reality.Because we actually created a reality where six months later I find myself in a Russian submersible two and a half miles down in the north Atlantic, looking at the real Titanic through a view port, not a movie, not HD, for real.Now, that blew my mind.And it tool a lot of preparation, we had to build cameras and lights and all kinds of things.But, it struck me know much this dive, these deep dives was like a space mission.You know, where it was highly technical, and it required enormous planning.You get in this capsule, you go down to this dark hostile environment where there is no hope of rescue if you can’t get back by yourself.And I thought like, “Wow.I am like living in a science fiction movie.This is really cool.” And so, I really got bitten by the bug of deep ocean exploration.Of course, the curiosity, the science component of it.It was everything.It was adventure.It was curiosity.It was imagination.And it was an experience that Hollywood couldn’t give me.Because, you know, I could imagine a creature and we could create a visual effect for it.But I couldn’t imagine what I was seeing out that window.As we did some of our subsequent expeditions I was seeing creatures at hydrothermal vents and sometimes things that I had never seen before, sometimes things that no one had seen before, that actually were not described by science at the time that we saw them and imaged them.So, I was completely smitten by this, and had to do more.And so, I actually made a kind of curious decision.After the success of “Titanic,” I said, “Okay, I’m going to park my day job as a Hollywood movie maker, and I’m going to be a full time explorer for a while.” And so, we stared planning these expeditions.And we would up going to the Bismark, and exploring it with robotic vehicles.We went back to the Titanic wreck.We took little bots that we had created that spooled a fiber optic.And the idea was to go in and do an interior survey of that ship, which had never been done.Nobody had ever looked inside the wreck.They didn’t have the means to do it, so we created technology to do it.So, you know, here I am now, on the deck of Titanic, sitting in a submersible, and looking out at planks that look much like this, where I knew that the band had played.And I’m flying a little robotic vehicle through the corridor of the ship.When I say, I’m operating it, but my mind is in the vehicle.I felt like I was physically present inside the shipwreck of Titanic.And it was the most surreal kind of déjà vu experience I’ve ever had, because I would know before I turned a corner what was going to be there before the lights of the vehicle actually revealed it, because I had walked the set for months when we were making the movie.And the set was based as an exact replica on the blueprints of the ship.So, it was this absolutely remarkable experience.And it really made me realize that the telepresence experience that you actually can have these robotic avatars, then your consciousness is injected into the vehicle, into this other form of existence.It was really really quite profound.And may be a little bit of a glimpse as to what might be happening some decades out as we start to have cyborg bodies for exploration or for other means in many sort of post-human futures that I can imagine, as a science fiction fan.So, having done these expeditions, and really beginning to appreciate what was down there, such as at the deep ocean vents where we had these amazing amazing animals.They are basically aliens right here on Earth.They live in an environment of chemosynthesis.They don’t survive on sunlight based system the way we do.And so, you’re seeing animals that are living next to a 500 degree Centigrade water plumes.You think they can’t possibly exist.At the same time I was getting very interested in space science as well, again, it’s the science fiction influence, as a kid.And I wound getting involved with the space community, really involved with NASA, sitting on the NASA advisory board, planning actual space missions, going to Russia, going to the pre-cosmonaut biomedical protocols, and all these sorts of things, to actually go and fly to the international space station with our 3D camera systems.And this was fascinating.But what I wound up doing was bringing space scientists with us into the deep.And taking them down so that they had access astrobiologists, planetary scientists, people who were interested in these extreme environments, taking them down to the vents, and letting them see, and take samples and test instruments, and so on.So, here we were making documentary films, but actually doing science, and actually doing space science.I’d completely closed the loop between being the science fiction fan, you know, as a kid, and doing this stuff for real.And you know, along the way in this journey of discovery, I learned a lot.I learned a lot about science.But I also learned a lot about leadership.Now you think director has got to be a leader, leader of, captain of the ship, and all that sort of thing.I didn’t really learn about leadership until I did these expeditions.Because I had to, at a certain point, say, “What am I doing out here? Why am I doing this? What do I get out of it?” We don’t make money at these damn shows.We barely break even.There is no fame in it.People sort of think I went away between “Titanic” and “Avatar” and was buffing my nails someplace, sitting at the beach.Made all these films, made all these documentary films for a very limited audience.No fame, no glory, no money.What are you doing? You’re doing it for the task itself, for the challenge — and the ocean is the most challenging environment there is, for the thrill of discovery, and for that strange bond that happens when a small group of people form a tightly knit team.Because we would do these things with 10-12 people working for years at a time.Sometimes at sea for 2-3 months at a time.And in that bond, you realize that the most important thing is the respect that you have for them and that they have for you, that you’ve done a task that you can’t explain to someone else.When you come back to the shore and you say, “We had to do this, and the fiber optic, and the attenuation, and the this and that, all the technology of it, and the difficulty, the human performance aspects of working at sea, you can’t explain it to people.It’s that thing that maybe cops have, or people in combat that have gone through something together and they know they can never explain it.Creates a bond, creates a bond of respect.So, when I came back to make my next movie, which was “Avatar,” I tried to apply that same principle of leadership which is that you respect your team, and you earn their respect in return.And it really changed the dynamic.So, here I was again with a small team, in uncharted territory doing “Avatar,” coming up with new technology that didn’t exist before.Tremendously exciting.Tremendously challenging.And we became a family, over a four and half year period.And it completely changed how I do movies.So, people have commented on how, well, you know, you brought back the ocean organisms and put them on the planer of Pandora.To me it was more of a fundamental way of doing business, the process itself, that changed as a result of that.So, what can we synthesize out of all this? You know, what are the lessons learned? Well, I think number one is curiosity.It’s the most powerful thing you own.Imagination is a force that can actually manifest a reality.And the respect of your team is more important than all the laurels in the world.I have young film makers come up to me and say, “Give me some advice for doing this.” And I say, “Don’t put limitations on yourself.Other people will do that for you, don’t do it to yourself, don’t bet against yourself.And take risks.” NASA has this phrase that they like: “Failure is not an option.” But failure has to be an option in art and in exploration, because it’s a leap of faith.And no important endeavor that required innovation was done without risk.You have to be willing to take those risks.So, that’s the thought I would leave you with, is that in whatever you’re doing, failure is an option, but fear is not.Thank you.10

第二篇：阿凡达(AVATAR)电影观后感

[阿凡达(avatar)电影观后感]几天前的晚上想去看最新的3d电影阿凡达(avatar)，到了电影院门口却被告知票卖完了，只好买了第二天的电影票，阿凡达(avatar)电影观后感。第二天去的时候以为会满员，却发现里面的人还不到一半，原来不是位置不够，是3d的眼镜不够。我看的是imax版的avatar，出了电影院后一直头还是昏昏沉沉地，还有点恶心的感觉，不过回到家时间不长就好了。给准备要看的朋友一点经验，如果有点晕头的时候，可以把3d的眼镜暂时取下来一会儿。这个电影最吸引人的无疑是它的3d效果。非常的逼真，因为主要是电脑制作，场景不受任何限制，所以场面非常的宏大，壮观！它的故事也还可以，是一部科幻片。讲2154年一群地球人到一个外星上去找一种很稀有的矿产，这个星球pandora上面住着外星人na'vi，地球人制作了和外星人一样的躯体，通过某种方式让地球人的思想进入到躯体并且控制躯体，这样地球人就和外星人表面一样了，有着同样的身体功能。主角jake也是因为哥哥的意外身亡而取代来到这里(听起来有点像潜伏里的游击队长翠平)，正是一些意外，让他无意中留到了星球上，后来遭遇危险的时候被外星人neytiri救了(美女救英雄)，她是那里的公主，他们后来恋上了。从电影里看，外星人居住的地方是一个人与自然和谐的地方，他们住在树上面，吃的是野果，除了用弓箭，骑马和骑鸟，其实和动物没有多大的区别。不过这样星球上就完全是没有被破坏的自然环境，人与自然达到了高度的和谐，他们应该是生活的很幸福的，观后感《阿凡达(avatar)电影观后感》。◆分享好文◆这应该是作者的一个理念，正好和现在的绿色和平的理念相符合，从政治上来说没有出格。这个电影的好评如潮，票房非常高，我想因为里面的高科技含量非常高，相对来说男生可能更喜欢这一类的电影，我不是特别喜欢看电影的也去了。不过电影终究是电影，外星人的美好环境当受到人类攻击的时候，肯定是不行的。虽然外星人得到了jake等几个地球人的帮助，对神灵的祈祷，使得他们还得到了动物的帮助，但是用弓箭与人类的导弹对抗肯定是不行的。影片里人类的攻击最后失败，这是导演帮忙的结果，呵呵！再美好的世界，如果不能抵御外来的侵略总是不行的，战争虽然不受欢迎，但是现实是残酷的，人类的罪恶是生来就有的，只有强者才是生存的道理。据说这个还有续集，可以肯定人类总有那些疯狂的神经病希望能控制宇宙，还会再到这里来，那一定会是另一场战争，当然正义会战胜邪恶！从科学技术的方面来说，把人的思想用一种方式传到另一个地方，用人的思想来控制人类做出来的东西，这就是用精神来控制物质，这真的能做到吗?中国的武侠大师们可以用意念发功，那毕竟还是要近距离的接触，而且一定要大师本人到场才是可以的，与这先进的技术相比有点大巫见小巫。至于有些个什么什么功可以远程控制别的人，那就是胡说八道，能够远程控制一个躯体也许会有用得多。我在想，如果电影里的jake用一个动物的躯体，譬如一个小蜜蜂，跟踪na'vi们去找到他们需要的矿产也许会有效得多呢！从科学技术的实际有用地方说，可以断定不久的将来，一个人就可以做一部电影，自己可以演多种角色，或者干脆就直接让计算机扮演所有的角色。现在的交响乐就可以一个人来完成，可以用软件模拟各种乐器，合成就可以了，科技发展真快！想保证博客的稳定与信息安全吗?快来，一键备份博客大巴文章到新浪博客！请点击进入~

第三篇：review of Avatar 阿凡达影评

Shamo Li

March 9, 2010Cinema 201Chris Fisher

Review of ‘Avatar’

According to James Cameron's 'Avatar', it takes place in the year 2154, on a planet called Pandora where American corporations and their military mercbenaries have set up bases to mine a surpassingly precious mineral called unobtanium.A marine named Jake is dispatched to the faraway planet, Pandora, where lives blue-skinned Na'vi people, in order to get Na'vi people's trust and then convince them to decamp.Jake transfers his spirit into a remotely controlled Na'vi body, called an avatar.But as Jake mingles with the Na'vi People, he gradually develops a close bond with the locals and finally decides to stand on their side against the human threat.‘Avatar’ is a very good movie, because it has a good 3-D effect and a nice idea.When the movie begins, put the 3-D glasses on my face and I get a sense of delight that quickly gives way to a sense of astonishment.The 3-D effect mixes live action, motion-capture, animation,computer-generated images and whatever other techniques all together seamlessly.In the beginning, we do not feel lots of 3-D special effect,but the movie seems to be normal, real things.We are in the movie, in the office and see the special and beautiful world on the Pandora through the windows.Or follow Jake Sully(Sam Worthington), the owner of a Avatar, to enjoy the wonderful and magical world – the mountains in the sky, the colorful and light trees, and flamboyant dragons.When the hero and the heroine fall in love, when it is very peaceful, the war comes.It is the first hit of the 3-D effect, from the American military, and give us lots of contrast from before.Mr.Cameron has devoted a significant chunk of his movie to a dark, didactic war, complete with napalm, Agent Orange and helicopter gunships.Whatever one may think of the politics of this antiwar section, two things can be said with certainty: it provokes an adrenaline rush, and it feels a lot better when it's over.Addition to the 3-D effect, the idea of ‘Avatar’ is very nice.Through the movie, we can see many problems about the politic, race, religion, environment and culture.The 3-D effect also stresses these problems, such as what I write above, the dark war, which seems like Vietnam war.The movie also tells us to protect the environment.The nature is our mother and she is very powerful.If we hurt her a lot, we will get revenge.Therefore, ‘Avatar’ is not only a very nice movie, it also is a deep mine of treasure, that we can find more things in it.

第四篇：电影《阿凡达 AVATAR》详细资料

电影《阿凡达 AVATAR》详细资料

【电影名称】

【主要演员】 沃辛顿 Sam Worthington

【上映日期】 2010年1月4日

【电影票价】 40元

【影片备注】 无

剧情介绍

故事从地球开始，杰克·萨利（萨姆·沃辛顿 饰）是一个双腿瘫痪的老兵，他觉得没有任何东西值得他去战斗，因此他对被派遣去潘多拉星球的采矿公司工作欣然接受。

这个星球上有一种别的地方都没有的矿物元素“unobtanium”，能够吸引人类不远万里来到这里拓荒的原因就是它“unobtanium”将彻底改变人类的能源产业。但是问题是，资源丰富的潘多拉星球并不适合人类生活，这里的空气对人类致命，本土的动植物都是凶猛的掠食者，极度危险。这里的环境也造就了与人类不同的种族：10英尺高的蓝色类人生物“Na”vi族“。Na”vi族 不满人类拓荒者的到来，也不喜欢人类的机器在这个星球的土地上因为到处挖矿而留下的斑斑伤痕。

由于潘多拉星球环境严酷，人类传统的宇航服、机甲都不足以保护矿工，于是科学家们转向了克隆技术：他们将人类DNA和Na“vi人的DNA结合在一起，制造了一个克隆Na”vi人，这个克隆Na“vi人可以让人类的意识进驻其中，成为人类在这个星球上自由活动的”化身“。然而并不是任何人都可以操纵这个克隆Na”vi人，只有DNA与他身上人类DNA配型相符的人才有这样的能力。

杰克·萨利的哥哥是这个克隆Na“vi的人类DNA捐献者，他就可以操纵这个克隆Na”vi人，然而他被杀死了，采矿的公司为了不让砸下去的钱白砸（克隆Na“vi人价格不菲），必须找到一个可以代替他操纵克隆Na”vi的人，这个人的DNA还必须和其配型相符，于是他们自然就找到了杰克?萨利，杰克?萨利对此很高兴，因为那意味着他又能走路了。

几年后，杰克·萨利到了潘多拉星球，他发现这里的美景简直无法用语言来形容，高达900英尺的参天巨树、星罗棋布飘浮在空中的群山、色彩斑斓充满奇特植物的茂密雨林、晚上各种动植物还会发出光......就如同梦中的奇幻花园。不过很快他就体验到了这里的危险，一头毒狼（潘多拉星球一种本土生物）与他狭路相逢，眼看就要被吃掉，一支箭射死了毒狼，杰克得救了。救他的是Na“vi族的一个女孩（佐伊·萨尔达娜 饰），杰克从她口中了解到了更多潘多拉星球的知识。

Na”vi族人一直以来都与潘多拉星球的其他物种和谐相处，过着一种简朴天然的生活，杰克在和这个Na“vi女孩的相处过程中逐渐转变了对人类来这里采矿的看法，他意识到他已经找到值得为之战斗的东西了。

不过杰克?萨利如果要加入Na”vi族人对抗人类入侵者的战争，要付出很大的代价：他并不能永远呆在“化身”中，当“化身”--克隆Na“vi人睡觉时，他就会回到自己半身不遂的人类身体中，只有通过专门的连接设备才能重新回到”化身“中。一旦与自己的同胞为敌，他就失去了与”化身“结合的可能，只能困在残疾的身体里，并失去那个他越来越喜欢的Na”vi女孩

本文由河北制冷网http://整理提供

本文由河北制冷网 http:// 整理提供

第五篇：《阿凡达》

<<阿凡达>>电影鉴赏

专业：10网络工程姓名：江剑学号：10226001701

4摘要

由詹姆斯·卡梅隆导演的《阿凡达》以未来世界为背景，讲述了人类攻占潘多拉星球的故事，詹姆斯卡梅隆导演用科幻的阿凡达把电影主题进一步升华，达到了在哲学、宗教及现代科技三者语境中最自然的融合。关键词

科幻、潘多拉、先进

正文

1、电影简介

《阿凡达》（Avatar）是一部科幻电影，由著名导演詹姆斯·卡梅隆执导二十世纪福克斯出品，该片有3D、平面胶片、IMAX胶片三种制式供观众选择。影片预算超过5亿美元，成为电影史上预算最高的电影。主要讲述了战斗中负伤而下身瘫痪的前海军战士杰克•萨利（萨姆•沃辛顿Sam Worthington 饰）决定替死去的同胞哥哥来到潘多拉星操纵格蕾丝博士（西格妮•韦弗Sigourney Weaver 饰）用人类基因与当地纳美部族基因结合创造出的“阿凡达” 混血生物。杰克的目的是打入纳美部落，外交说服他们自愿离开世代居住的家园，从而SecFor公司可砍伐殆尽该地区的原始森林，开采地下昂贵的“不可得”矿。在探索潘多拉星的过程中，杰克遇到了纳美部落的公主娜蒂瑞（佐伊•索尔达娜Zoe Saldana 饰），向她学习了纳美人的生存技能与对待自然的态度

与此同时，SecFor公司的经理和军方代表上校迈尔斯（史蒂芬•

朗Stephen Lang 饰）逐渐丧失耐心，决定诉诸武力驱赶纳美人...最后，人类在利益的驱动下，派遣了战机去摧毁Navy族人所生存的一棵巨树，尽管杰克等人一再争取希望可以不要那么做，但是采矿公司还是决意要去摧毁。杰克与他们协商，自己去和Na'vi族人交涉，让他们离开那颗大树，然而当他说明了一切之后，Na'vi族人都很愤怒，特别是杰克喜欢的那个Na'vi族人女孩也是很愤怒，Na'vi族人就把杰克和一名女教授一起捆在了刑架上了。采矿公司派遣的战机发现他们协商失败了。于是下令开火，摧毁了他们前进的阻碍——Na'vi族人赖以生存的那棵巨树，Na'vi族人的领袖也被炮火炸死。

没有了生存之地的Na'vi族人被迫暂居神树之下。而杰克等人的正义

行为因为和采矿公司的利益冲突，被他们关了起来。后来，他们借机驾机逃跑了，杰克骑着“魅影”到达了Na'vi族人暂居的神树下，呼吁Na'vi 族人作出反抗，他终于又得到Na'vi族人的信任。在他的呼吁下，他们联络了潘多拉星球上了其他民族的人，一起组建了一支几千人的反抗军，形成了陆空两路的防线。采矿公司的军队也发现了Na'vi族人的反抗迹象，他们迅速装填了大量的高烈性炸药，准备提前消灭Na'vi族人。于是，Na'vi族人的反抗联盟和采矿公司的军队展开了血战，结果，Na'vi 族人反抗军最终打败了人类，而人类的军队指挥也被杀死，Na'vi族人在杰克的帮助下，将遣送采矿公司全部离开潘多拉星球。在Na'vi的精神领袖的带领下，Na'vi族人用自己的感受器（辫子）与神树相连，借助神树的力量，将杰克·萨利的精神（灵魂）转移到他的阿凡达身上，杰

克最终成为了这个星上Na'vi人的领袖。故事到这里就结束了。

2、电影分析《阿凡达》按影片的类型分，属于科幻片。用经典的好莱坞三幕式来分析这个影片，可以把影片分为三个大的部分，背景-发展-结局。

其中包括引子、主线、引发性事件、第一转折点。在这部影片中开场空军大集合，一大批人被送到了潘多拉星球，交代了故事的背景是影片的一个引子，杰克双腿残废，当他与哥哥控制的阿凡达合二为一时，在路上行走的感觉使他非常兴奋。他在巧合中与纳威人的公主相遇，圣母艾瓦附在杰克身上，公主很惊奇，便把他带到了族人面前，从此他就与纳威人生活在一起了，这是影片的一个转折点。

故事的发展阶段，纳威的公主教杰克如何在潘多拉生存，如何用他们的语言，经过一个月的努力，杰克掌握了纳威的语言、纳威的生活方式，并且还爱上了那个勇敢的纳威女孩，但是他又有任务在身，他是来劝说让他们迁居的，而且将军马上就要才去强制性的手段攻打纳威了这便是影片的不可逆转点。人类在益的驱动下，派遣了战机去摧毁 Navy族人所生存的一棵巨树，尽管杰克等人一再争取希望可以不要那么做，但是采矿公司还是决意要去摧毁。杰克与他们协商，自己去和Na'vi族人交涉，让他们离开那颗大树，然而当他说明了一切之后，Na'vi族人都很愤怒，特别是杰克喜欢的那个Na'vi族人女孩也是很愤怒，Na'vi族人就把杰克和一名女教授一起捆在了刑架上了。后来，他们的把人体交换器运到了高磁场区，将军找不到的地方，至此，是情节的第二个转折点。

接近尾声，Na'vi族人的反抗联盟和采矿公司的军队展开了血战，结果，Na'vi族人反抗军最终打败了人类，而人类的军队指挥也被杀死，Na'vi族人在杰克的帮助下，将遣送采矿公司全部离开潘多拉星球。在Na'vi的精神领袖的带领下，纳威族人用自己的感受器（辫子）与神树相连，借助神树的力量，将杰克·萨利的精神（灵魂）转移到他的阿凡达身上，杰克最终成为了这个星上Na'vi人的领袖。

3、结论

近年3D电影虽然大行其道，但詹姆斯这次所拍的3D《阿凡达》片，却为3D技术带来历史性的突破。我们看到的花鸦三维影动研究室的捕捉虚拟合成扣像技术在这里被詹姆斯加以提升，当演员穿上有节点的衣服后，我们可以适时捕捉到逼真的动画。詹姆斯手持3D摄影机拍摄主角穿上动作感应紧身衣的一举一动时，现场即可在电脑上看到主角变身成蓝皮肤的Na'vi在特技森林场景中演戏的画面。这个实时观看3D拍摄效果的技术是史无前例的，同时詹姆斯还在实景中拍摄，令观众难分真假。

虽然主角是蓝色外星人，但所有演出均是演员的努力而不是只为角色配音。演员除了亲身上阵打斗外，片中他们经常与飞天野兽作伴，并骑着它们到处飞，原来演员也要在类似野兽形体的物体上来演绎，所以他们必须学习“真骑野兽”，怎么样移动及保持身体平衡，并要掐算好时间配合同样转动的3D背景。演员穿上感官紧身衣，戴上吊着一个微型摄影机的头套。其次，影片的结局精彩，不禁让人折服。詹姆斯提到全片中最享受的是男女主角在天空中自由自在地骑着野兽飞行的场面，但最精彩的则是结局的动作场面。他花了两年时间研究怎样拍摄结局，2.7米高的 Na'vi人利用箭与人类的吉普车及直升机对决会是怎样，詹姆斯说：“类似《未来战士续集》最后二十分钟那样一气呵成，包含空中，陆地、装甲部队及步兵等等上阵，是所有战争片的始祖，是我生平做过最大的东西，这部片也代表了我的毕生成就”。

最后，不得不赞叹导演对纳威族语言的创造花尽心思，设计潘多拉的生态环境及星球上的文化，甚至找来语言学者创造一种全新的纳威语言，将其想象的星球呈现在银幕上。他又根据地球上的生物，创造了各种在潘多拉生存的野兽。整个影片从一开始就吊足了观众的胃口，情节跌但祈福，特效无与伦比，真可谓是科幻中的极品。