第一集 外星生命 ALIEN LIFE
And I just remember, you know, looking at the sky, because of the influence of my father, and saying, "If I ever get a chance to make a science fiction movie, I want those guys to come in peace."
我记得，在我爸的影响下，我看着星空说：“如果我有机会拍一部科幻电影，我希望那些家伙是为了和平而来的。”
-- Steven Spielberg
1.《第三类接触》 CLOSE ENCOUNTERS OF THE THIRD KIND 1977
"Close Encounters of the Third Kind" did something different with aliens. Instead of having aliens just as mostly fearsome monsters who only wanted to drink our blood or rule us, it said there's a lot of amazing stuff out there in the universe, and you're gonna walk away awestruck.
《第三类接触》在对外星人的处理上有些不同，它没有将外星人塑造成那种很可怕的，只想要吸干我们的血或统治我们的怪兽。它表现出了宇宙中还是有很多美妙的东西的，而且你将充满敬畏地远离它们。
-- SIDNEY PERKOWITZ
I think science fiction as a genre has definitely always had a kind of social, political, cultural message that's generally contained in the stories that are written. You know? It's not the normal world, but it's dealing with the things that we deal with in our world.
我觉得科幻电影作为一种类型总会包含着一种社会、政治、文化信息，这些通常包含在所写的故事里。这不是普通的世界，但它也面临着我们这个世界所面临的问题。
-- KEANU REEVES
In a way, this isn't a movie so much about the aliens themselves. What it's really about is us. You know, how are we going to feel when we become aware of a life bigger than ours? What would we do?
这不是一部关注于外星人的电影，它真正关注的是我们。也就是说，当我们发现比我们高级的生命时会怎么想？我们会怎么做？
-- AMY NICHOLSON
"Close Encounters of the Third Kind" had an original title called "Watch the Skies." -- So, "Close Encounters of the Third Kind", its original title built a bridge back to that 1950s classic science fiction film, "The Thing from Another World."
《第三类接触》最开始的名称是叫《仰望天空》 -- 所以《第三类接触》，最开始的名称是指向了那部二十世纪五十年代的经典科幻电影，《怪人》。
-- SIDNEY PERKOWITZ
2.《怪人》 THE THING FROM ANOTHER WORLD 1951
One of my favorite aliens-invasion narratives is actually a classic episode of "The Twilight Zone" called "To Serve Man."
我最喜欢的一个外星侵略故事是《阴阳魔界》的经典一集，叫做《为人类服务》。
Aliens arrive, and humans are, like, "Oh, what are you here for?" And they're like, "We want to serve you." Later, humans sneak onboard the aliens ship and find a book there. And eventually, they translate it and find out it's a cookbook.
外星人来了，人类的反映是“你们到这里来干嘛？”外星人说：“我们想为你们服务。”之后，人类潜入了外星飞船，在那里发现了一本书，最终，他们翻译了它，发现那是一本食谱。
-- ANNALEE NEWITZ
3.《阴阳魔界》 THE TWILIGHT ZONE S3E24 "TO SERVE MAN" 1962
I think we use aliens to portray our dreams, our wishes, our desires, what we wish we could be. Most often, I think we use aliens to portray our fear of the unknown.
我们借助外星人勾勒我们的梦想、我们的希望与渴望、我们对自身的期待，更常见的是我们借助外星人表现我们对未知的恐惧。
-- NNEDI OKORAFOR
4.《魔茧》 COCOON 1985
More than any other genre, science fiction is the great "What if?"
与其他类别相比，科幻作品更专注于设问。
-- DEAN DEVLIN
5.《独立日》 INDEPENDENCE DAY 1996
You can't make a movie about an alien invasion without tipping your hat to "War of the Worlds."
你不可能制作一部关于外星人入侵的电影而不向《世界大战》致敬。
-- DEAN DEVLIN
6.《世界大战》 The War of the Worlds - H.G.WELLS
By the 1950s, we've got the atomic threat. The aliens now represent what will happen with nuclear destruction.
到20世纪50年代，有了原子武器的威胁，这时候外星人代表了发生核毁灭的时候会是什么情况。
——BLAIR DAVIS
7.《世界大战》 THE WAR OF THE WORLDS 1953
And then you fast-forward to Steven Spielberg's "War of the Worlds" in which there's more of a sense of post-9/11 catastrophe.
然后快进到史蒂文·斯皮尔伯格的《世界大战》，里面更有一种9·11事件后大灾难的感觉。
——ELLIOTT KALAN
8.《世界大战》 THE WAR OF THE WORLDS 2005
"Invasion of the Body Snatchers" is a lot scarier, in some ways, than your aliens swooping in from the sky, "War of the Worlds"-type of battle, because you don't really know who's an alien, who's not.
《天外魔花》某种程度上比外星人从空中突然降下来更吓人，像《世界大战》那种电影，因为你不知道到底谁是外星人，谁不是。
-- ELLIOTT KALAN
9.《天外魔花》 INVASION OF THE BODY SNATCHERS 1956
Really it's sort of like a metaphor. Do you really want to feel or do you not want to feel? Would you rather just go through life living in that gray area, with no real expression for himself?
这有点像是比喻，你真的想要感受吗？还是你其实不想，你宁愿在那片灰色地带度过一生，同时没有任何真实的情感吗？
-- VERONICA CARTWRIGHT
10.《人体异形》 INVASION OF THE BODY SNATCHERS 1978
What Carl really was about was communicating. He thrived on how people and how species and how tribes and how cultures communicate.
卡尔真正想要传达的是沟通，他热衷于人类、种族、部落、文化之间如何进行沟通。
-- JAMES V.HART (《超时空接触》编剧)
11.《超时空接触》 CONTACT 1997
Communication becomes one of the most important themes in science fiction. At the same time, it becomes one of the most important puzzles in science fiction.
沟通成为科幻小说中最重要的主题之一，与此同时，它也成为了科幻小说中最重要的谜团之一。
-- GARY K.WOLFE
12.《索拉里斯星》 Solaris - Stanislaw Lem
13.《索拉里斯星》 SOLARIS 2002
14.《星际迷航》 STAR TREK 1966-1969
15.《童年的终结》 CHILDHOOD'S END - ARTHUR C.CLARKE
16.《童年的终结》 CHILDHOOD'S END 2015
One of the things I wanted to do with my story, that I hadn't seen in a lot of other science fiction was to actually depict the process of learning an alien language, when you actually have to painstakingly work out vocabulary and grammar.
对我的故事，我有一个想法，在其他科幻小说里很少看到，那就是真正描写出学习外星语言的过程，这个时候你需要艰难地理清词汇和语法。
-- TED CHIANG ( 姜峯楠 )
17.《你一生的故事》 STORIES OF YOUR LIFE AND OTHERS - TED CHIANG
18.《降临》 ARRIVAL 2016
The aliens in "Arrival". They are a way of talking about a radically different mode of cognition, different ways of thinking, different ways of looking at the universe.
《降临》通过外星人讲述了一种完全不同的认知模式、不同的思考方式，对宇宙的不同看法。
-- TED CHIANG
And the more she understands their language, the more she understands their consciousness. And because their consciousness transcends time, she starts to remember the future.
她对他们的语言了解得越深，就越理解他们的意识。因为他们的意识超越了时间，她开始回忆起未来。
-- ANNALEE NEWITZ
One of the biggest problems you have in science fiction, with movies -- they don't have it in books or anything -- but in movies, you have to create a real world, and it's a real world that doesn't exist. It's really hard, and it takes a long, long time. Because you've got to create something that's truly unusual and different, but familiar so you believe it.
科幻电影会遇到的最大问题之一——书里并没有这个问题——而在电影里，你必须创造一个真实的世界，一个并不存在的真实世界。这非常困难，要花很长时间。因为你必须创造出异常非凡而独特的事物，但又要有亲切感，才能令人信服。
-- GEORGE LUCAS
It's not just about biology, but it's about our own psychology, as well.
这并不仅仅是关于生物学，也是关于我们自己的心理学。
-- ALEC GILLIS (《异形》系列生物特效设计师)
The Xenomorphs have a fantastic basic design that employ all sorts of psychosexual imagery, as well as death imagery, and you know, the phallic head and its life cycle that basically starts with rape.
异形的基础结构运用了很多性心理学的意象以及死亡意象，比如类似阴x的头部和生命周期起始于强x的设定。
-- ALEC GILLIS (《异形》系列生物特效设计师)
Most beasts are not very good. Or repetitions of other creatures that we have seen. Films have been ruined by showing the beast finally.
很多怪兽设计得并不是很好。只是我们曾见过生物的复制品，有些电影最终揭示怪兽面目时就毁了。
-- RIDLEY SCOTT (《异形》导演)
If you look at Ridley's movie, you know, it hasn't dated. And I think that plays to a lot of strengths of Giger's design for the alien. You know, it's really a man's life's work that Ridley got to take and put on screen.
如果你看雷德利的电影，你会发现他的电影并没有过时，我觉得这是因为吉格尔的设计赋予这部电影很多生命力。电影里所展示的真的是一个人的毕生杰作。
-- PAUL W. S. ANDERSON (《异形大战铁血战士》导演)
19.《异形》 ALIEN 1979
Most of the Xenomorphs combined both masculine and feminine sexual characteristic, and that's terrifying to us because one of the ways we make sense of the monstrous and of others is by trying to map them in some way that matches our own understanding of existence. And one of the key ways that we think about humanity is in terms of gender.
多数异形同时具有男性和女性的性别特征，这对我们来说非常恐怖，因为我们理解怪物和他者的一种方法是试图将它们用某种方式映射在我们对现存事物的理解中。而我们考虑人类的一个重要角度就是性别。
The problem with the aliens is that they blend together, the two, and so are no longer understandable and controllable.
异形把这两种性别特征混合在一起，对我们来说不再是能够理解和控制的。
-- LISA YASZEK
20.《异形4：浴火重生》 ALIEN RESURRECTION 1997
For me, what was, and still is, beautiful about science fiction is, could you have the big, giant summer blockbuster package but be diving into serious religious or political or social concepts that sparks people to get together and to communicate and evolve.
对我来说，科幻的美，不论是以前还是现在，都在于，它可以既是一部暑期档大片，同时也可以深入探索宗教、政治或是社会理念，促使人们能够聚在一起进行交流、进步。
-- WILL SMITH
21.《异星兄弟》 BROTHER FROM ANOTHER PLANET 1984
22.《异形帝国》 ALIEN NATION 1988
Aliens get to be the carrier for some of our guilts and fears around the treatment of other people.
外星人可以作为我们罪恶感和恐惧的载体，而这些正来自我们对待其他人的方式。
-- NALO HOPKINSON
23.《第九区》 DISTRICT 9 2009
So science fiction becomes a powerful means of talking about that, particularly when it's doing so deliberately.
所以科幻成了谈论这些事的一种有力手段，特别是如此刻意得谈论时。
-- NALO HOPKINSON
I think that's what science fiction at its best does. It ask those questions. It asks, "What is it to be human?" and, "Are what we call aliens much more humane than we are?"
我想这是科幻所能达到的极致。它抛出了那些问题。它问：“什么是人类？”还有，“我们所谓的外星人是否远比我们有人性？”
-- SIGOURNEY WEAVER (西格尼·韦弗，《阿凡达》演员)
24.《阿凡达》 AVATAR 2009
"E.T." was never meant to be a movie about extraterrestrials. It was meant to be a story about my mom and dad getting a divorce.
《E.T.》本来就不是一部关于外星人的电影，它本来是关于我父母离婚的故事。
-- STEVEN SPIELBERG
25.《E.T.》 E.T. THE EXTRA-TERRESTRIAL 1982
Spielberg made a point of designing E.T. to be as empathetic-looking as possible, to the point that he had his designer, Carlo Rambaldi, look at pictures of elderly people from the Depression and try to figure out what made these people look empathetic and wise and sad.
斯皮尔伯格强调说，ET看上去要尽可能地让人产生共鸣。为此，他和设计师卡洛·兰巴尔迪浏览了经历过大萧条时期的老年人照片，并试图找出是什么原因让这些人看起来睿智中带着伤感。
And then he said, "Can you mix in a little bit of Albert Einstein?"
接着他问：“能不能融入一些阿尔伯特·爱因斯坦的感觉？”
-- AMY NICHOLSON
So that's why I think filmmakers sometimes have to play tricks when they portray aliens, to give them humanlike features, in order to evoke that kind of feeling of empathy from us.
正是因为这样，我认为电影人在塑造外星人时，有时需要些技巧赋予外星人一些似人的特征为的是唤起人类内心的共鸣。
-- KEN LIU
JAMES CAMERON: Do you think now, with your experience and your view of the world, that aliens exist?
詹姆斯·卡梅隆：根据你的经历和世界观，你现在是否认为外星人是存在的？
STEVEN SPIELBERG：I wanted to believe. I felt I earned the right to see a UFO. I made "E.T." I made "Close Encounters." My goodness, I kept waiting for a sighting.
史蒂芬·斯皮尔伯格：我愿意相信他们是存在的。我觉得我有资格亲眼看到UFO，我拍过《E.T.》，拍过《第三类接触》，天哪，我一直盼着能看见一次UFO。
更新第06集
