Walt Disney
Floyd Norman: : Every time Walt walked down a hallway, he would give a loud cough.
弗洛伊德·诺曼：每次沃尔特走过走廊时，他都会大声咳嗽。
It was a warning sign so we would know that the boss was in the area.
这是一个警告信号，这样我们就知道老板就在该地区。
Richard Sherman, Songwriter: : In Bambi , there's a line when "Man is in the forest," there was danger.
理查德谢尔曼，歌曲作者：：在《小鹿斑比》中，有一句台词“人在森林里”，表示存在危险。
You have to be worried.
你必须担心。
We'd hear Walt coughing coming down the hall, and one of the guys would say, "Man is in the forest." And we'd all get ready for Walt.
我们会听到沃尔特咳嗽声从大厅传来，其中一个人会说：“人类在森林里。”我们都会为沃尔特做好准备。
Rolly Crump, Imagineer: : He walked through the door and, you know, pins would drop.
罗利·克伦普（Rolly Crump），幻想工程师：：他走进门，你知道，别针会掉下来。
You couldn't hear anything.
你什么也听不到。
His personal power walked right with him.
他的个人权力与他同行。
Richard Sherman, Songwriter: : There was no joking around.
理查德·谢尔曼（Richard Sherman），词曲作者：：这不是开玩笑。
He would sit down, he'd say, "Okay, guys, what you got?" And I would say, "I got a great idea," and Walt would say, "We'll tell you if you have a great idea.
他会坐下来，说：“好吧，伙计们，你们得到了什么？”我会说，“我有一个好主意，”沃尔特会说，“如果你有一个好主意，我们会告诉你。
You have an idea."
你有一个主意。”
Narrator: : Walt Disney was an international celebrity by the time he was 30, hailed a genius before he was 40, with honorary degrees from Harvard and Yale.
旁白：沃尔特·迪士尼在30岁的时候就已经是国际名人，在40岁之前就被誉为天才，拥有哈佛和耶鲁大学的荣誉学位。
He built a media and entertainment company that stands as one of the most powerful on the planet...
他建立了一家媒体和娱乐公司，是地球上最强大的公司之一......
Narrator: : …won more Academy Awards than anybody in history, created a cinematic art form, and invented a new kind of American vacation destination.
旁白：……赢得的奥斯卡奖比历史上任何人都多，创造了一种电影艺术形式，并发明了一种新型的美国度假胜地。
Disney's work counts adoring fans on every continent and critics who decried its smooth façade of sentimentality and stubborn optimism, its feel-good re-write of American history.
迪士尼的作品在各大洲都有着忠实的粉丝，也有批评家谴责它表面上的多愁善感和顽固的乐观主义，以及它对美国历史的良好改写。
Ron Suskind, Writer: : Disney's a Rorschach in America.
罗恩·苏斯金德 (Ron Suskind)，编剧： 迪士尼是美国的罗夏墨迹。
The love and hate, it's off the charts.
爱恨情仇，无以言表。
But, God, you have got to respect the energy of this guy.
但是，上帝，你必须尊重这个人的能量。
I mean, he is lunging every day of his life.
我的意思是，他生命中的每一天都在努力。
Walt Disney (archival): : "Well, kids, Babes in Toyland is finished, and now it's time to celebrate!"
沃尔特·迪士尼（档案）：“好了，孩子们，玩具城里的宝贝们已经完成了，现在是时候庆祝了！”
Richard Schickel, Writer: : Nobody who does stuff on the scale that he did is a sweetheart of a guy.
理查德·希克尔（Richard Schickel），编剧：：没有人能像他那样做事，是个甜心人。
I think he wanted to be what his image was.
我认为他想成为他的形象。
He wanted to be thought of as a hail-fellow-well-met, good-natured.
他希望别人认为他是一个和蔼可亲、心地善良的好朋友。
But he wasn't.
但他不是。
Neal Gabler, Biographer: : Walt Disney is in many ways a very dark soul.
传记作者尼尔·加布勒：：沃尔特·迪士尼在很多方面都是一个非常黑暗的灵魂。
And one could say that he fought that, fought that darkness, tried to find the light.
可以说，他与黑暗作斗争，试图寻找光明。
Sarah Nilsen, Film Historian: : He is feeling so much inside and he wants people to feel what he feels is inside.
电影史学家莎拉·尼尔森：：他内心有如此多的感受，他希望人们能感受到他内心的感受。
He could take those feelings that were so central to who he was, put 'em on screen, and allow other people to also feel them along with him.
他可以把那些对他来说至关重要的感觉，把它们放在屏幕上，让其他人也能和他一起感受到它们。
Neal Gabler, Biographer: : Most successful people, they get one thing right -- and that's it.
尼尔·加布勒（Neal Gabler），传记作者：：大多数成功人士，他们都做对了一件事——就是这样。
But Walt Disney was a guy who got a whole lot of things right.
但沃尔特·迪士尼是一个在很多事情上都做对了的人。
What did this guy understand about the human psyche?
这家伙对人类心理了解多少？
Richard Schickel, Writer: : Walt Disney was as driven a man as I've ever met in my life.
理查德·席克尔（Richard Schickel），编剧： 沃尔特·迪士尼是我一生中见过的最有动力的人。
What he really wanted to do was, as we used to say in the Middle West, make a name for himself.
正如我们在中西部常说的那样，他真正想做的是为自己出名。
He had a sort of undifferentiated ambition.
他有一种不屈不挠的野心。
He wanted to be somebody, that's for sure.
他想成为某个人，这是肯定的。
Narrator: : Walt Disney was still a few months shy of his 18th birthday when he returned from France after the first world war in 1919, and he was already better off than most of the two million other American boys streaming back home.
旁白： 1919 年第一次世界大战结束后，沃尔特·迪士尼 (Walt Disney) 从法国回国时，距离 18 岁生日还有几个月，而他已经比其他 200 万回国的美国男孩中的大多数人过得更好了。
'Diz,' as his friends called him, had banked over $500, and had a place waiting for him at a Chicago jelly factory where his father was part-owner.
“迪兹”（他的朋友们这样称呼他）已经存了 500 多美元，在芝加哥一家果冻工厂有一个位置在等着他，他的父亲是该工厂的合伙人。
The job offer was the best most working-class boys could hope for, but Walt Disney was not like most working-class boys.
这份工作机会是大多数工薪阶层男孩所希望的最好的，但沃尔特·迪士尼与大多数工薪阶层男孩不同。
Don Hahn, Animator: : He's got all these ideas, and he starts acting on them.
唐·哈恩（Don Hahn），动画师：：他有了所有这些想法，并且开始付诸实践。
And where most people were "ready, aim, fire," he was like, "ready, fire, aim." You know, he was like, "Let's go!"
当大多数人都“准备好、瞄准、开火”时，他却说“准备好、开火、瞄准”。你知道，他说：“我们走吧！”
Neal Gabler, Biographer: : Walt loved attention.
尼尔·加布勒（Neal Gabler），传记作者：沃尔特喜欢受到关注。
He was an extrovert.
他是一个外向的人。
He loved to be the center of attention.
他喜欢成为众人瞩目的焦点。
He wants to be an artist.
他想成为一名艺术家。
And I think he discovered something early on: That talent was his way of getting attention.
我认为他很早就发现了一些东西：天赋是他获得关注的方式。
He's a man of the times.
他是一个时代人物。
And the times are exciting.
时代是令人兴奋的。
Narrator: : Walt was determined to do work he loved, and he had been an enthusiastic artist and cartoonist from the time he was little.
旁白： ：沃尔特决心做他喜欢的工作，他从小就是一位热情的艺术家和漫画家。
He took a pass on factory work in Chicago and headed for Kansas City instead, where he had spent much of his boyhood.
他放弃了芝加哥的工厂工作，前往堪萨斯城，在那里度过了他童年的大部分时光。
He moved into a house with two of his older brothers, and landed a job as a commercial artist for a local ad company.
他和两个哥哥搬进了一所房子，并在当地一家广告公司找到了一份商业艺术家的工作。
Soon he was making enough money for fashionable clothes, fine cigars, meals at nice restaurants, and near-nightly trips to the movie houses springing up all over town.
很快，他就赚到了足够的钱，可以买时髦的衣服、上等的雪茄、在漂亮的餐馆吃饭，以及几乎每晚都去镇上如雨后春笋般涌现的电影院。
Disney's evenings in these new palaces of celluloid fantasy included at least one feature film, maybe a serial short, a newsreel, and an animated cartoon or two.
迪士尼在这些新的赛璐珞奇幻宫殿中度过的夜晚至少包括一部故事片，也许是一部连续剧短片、一部新闻片和一两部动画。
Tom Sito, Animator: : It was an exciting and very dynamic medium.
Tom Sito，动画师：：这是一种令人兴奋且充满活力的媒介。
The industry was very young.
这个行业非常年轻。
There was no regulations, or no customs, or no conformity.
没有规定，没有习俗，或者不合规。
It was wide open to what people wanted to make of it.
它对人们想要做什么持开放态度。
Narrator: : Disney was captivated.
旁白：：迪士尼被迷住了。
His only formal training was a few months at an art school in Chicago, and a course at the Kansas City Art Institute, but he was convinced he could make better than what he was seeing.
他唯一的正式培训是在芝加哥的一所艺术学校接受了几个月的训练，并在堪萨斯城艺术学院接受了课程，但他相信自己可以做得比他所看到的更好。
He checked out from the public library Eadweard Muybridge's Human Figures in Motion .
他从公共图书馆借出了埃德沃德·迈布里奇的《运动中的人物》。
Then he borrowed a volume that laid out the basics of animation in filmmaking.
然后他借了一本介绍电影制作动画基础知识的书。
Disney read about roughing out a storyline, creating characters, and carefully drawing each individual frame onto white linen paper; by mounting each frame on pegs, just as the book instructed, and shooting them one at a time, he began to create the illusion of movement.
迪士尼读到了如何草拟故事情节，创造角色，并仔细地将每个单独的框架绘制在白色亚麻纸上；按照书上的指示，将每个框架安装在钉子上，并一次拍摄一个框架，他开始创造运动的幻觉。
Sarah Nilsen, Film Historian: : He was really into modern culture.
莎拉·尼尔森，电影史学家：：他真的很喜欢现代文化。
The pleasure of somehow engaging with the potential of cinema, the potential of animation was exciting to him.
以某种方式接触电影、动画的潜力的乐趣让他兴奋不已。
And he had this little ability to draw.
而且他还有一点点画画的能力。
He had a knack.
他有一个诀窍。
Narrator: : Disney's first efforts were short cartoons he made on nights and weekends with a film camera he borrowed from his boss at the ad company.
旁白：迪士尼的第一个努力是他在晚上和周末用从广告公司老板那里借来的胶片相机制作短片卡通。
"I gagged 'em up to beat hell," he would say, and then sold them to a small Kansas City based theater chain.
他会说：“我把它们堵住嘴，以打败地狱。”然后将它们卖给堪萨斯城的一家小型连锁剧院。
The fees didn't even cover his costs, but Disney gained something more important than money: attention, excitement...
这些费用甚至还不够他的成本，但迪士尼获得了比金钱更重要的东西：关注、兴奋……
a whiff of destiny.
命运的气息。
"My first bit of fame came there," he said.
“我的第一个名声就是在那里，”他说。
"I got to be a little celebrity."
“我必须成为一个小名人。”
At age 20, Disney quit his day job, and started a company -- Laugh-O-grams, Inc., Walter Elias Disney, president.
20 岁时，迪士尼辞去了日常工作，创办了一家公司——Laugh-O-grams, Inc.，沃尔特·埃利亚斯·迪士尼 (Walter Elias Disney) 担任总裁。
He hired a salesman, a business manager, and four young apprentice animators.
他聘请了一名推销员、一名业务经理和四名年轻的动画师学徒。
Don Hahn, Animator: : I can imagine a young Walt Disney just, you know, waking up at dawn and going out with his friends and saying, "Well, let's shoot this.
唐·哈恩（Don Hahn），动画师：：我可以想象年轻的沃尔特·迪士尼，你知道，黎明时分醒来，和他的朋友们一起出去，然后说：“好吧，我们来拍摄这个吧。
Let's film this." And that kind of hunger for not just expressing himself but finding out who he was.
我们来拍这个吧。”这种渴望不仅是表达自己，而且是发现自己是谁。
He couldn't do enough.
他做得还不够。
Steven Watts, Historian: : He has stars in his eyes.
史蒂文·瓦茨，历史学家：：他的眼睛里有星星。
He thinks he can do anything and everything that he wants.
他认为他可以做任何他想做的事。
He has big plans.
他有宏伟的计划。
He's going to conquer the world.
他要征服世界。
Narrator: : Just as he was beginning to get some traction in the modern movie industry, Walt's parents arrived from Chicago.
旁白： 正当沃尔特开始在现代电影业崭露头角时，他的父母从芝加哥来到了这里。
Elias and Flora Disney moved in with their sons because they had nowhere else to turn; the jelly factory had failed -- the latest in a long line of Elias's business disasters.
埃利亚斯和弗洛拉·迪士尼搬来和他们的儿子住在一起，因为他们无处可去。果冻工厂倒闭了——这是埃利亚斯一系列商业灾难中的最新一起。
While Disney's mother tried to be supportive of Walt's new career, his father took little joy in his youngest son's minor celebrity.
虽然迪士尼的母亲试图支持沃尔特的新职业，但他的父亲却对他小儿子的小名气感到不高兴。
He told Walt not to expect his new success to last.
他告诉沃尔特不要指望他的新成功会持续下去。
Walt began to worry he was going to end up, once again, in service to his father.
沃尔特开始担心他最终会再次为父亲服务。
Ron Suskind, Writer: : Disney lived a very, very difficult existence in Missouri as a kid.
罗恩·苏斯金德（Ron Suskind），编剧：迪士尼小时候在密苏里州过着非常非常困难的生活。
He works all the time.
他一直在工作。
His father is an imperious, withholding, kind of brutal character.
他的父亲是一个专横、保守、残忍的人。
"You're here to work, and work to help me." That's Dad.
“你来这里是为了工作，并且工作是为了帮助我。”那是爸爸。
Neal Gabler, Biographer: : It's hard to find a father and son who are more different than Elias Disney and Walt Disney.
传记作者尼尔·加布勒：很难找到比埃利亚斯·迪士尼和华特·迪士尼更不同的父子了。
Walt Disney was fun-loving.
沃尔特·迪士尼很有趣。
He loved practical jokes.
他喜欢恶作剧。
He was a kid who just loved people.
他是一个只爱别人的孩子。
Walt was antithetical to Elias not only by temperament, but also by will.
沃尔特不仅在性格上，而且在意志上都与埃利亚斯相反。
He determined, "I'm going to be everything he isn't.
他下定决心：“我要成为他所没有的一切。
I'm going to be the antithesis of him.
我将成为他的对立面。
Look at his life.
看看他的生活。
I don't want to live that life."
我不想过那样的生活。”
Ron Suskind, Writer: : He survives a life of deprivation, of have not, of no time to do the things that kids should do -- play, enjoy, laugh.
罗恩·苏斯金德（Ron Suskind），作家：：他过着匮乏的生活，没有时间，没有时间做孩子们应该做的事情——玩耍、享受、欢笑。
And the minute he gets into full upright adulthood, whether he says it to himself or not, he's like, "I am going to make amends for that in some way.
当他完全成年的那一刻，无论他是否对自己说，他都会说：“我会以某种方式弥补这一点。
I don't know how, but I yearn for the things that I didn't get as a child."
我不知道怎么做，但我渴望那些我小时候没有得到的东西。”
Narrator: : Disney and his Laugh-O-grams crew secured a contract for six animated fairytale shorts, but when they delivered the work, the distributor stiffed them.
旁白：迪士尼和他的 Laugh-O-grams 团队获得了六部动画童话短片的合同，但当他们交付作品时，发行商却对他们施加了压力。
Walt could no longer make payroll, or pay the rent on his office, the phone bill, the electrical bill.
沃尔特无法再支付工资，也无法支付办公室租金、电话费和电费。
Creditors began circling, while Walt insisted he had discovered the means for a daring escape, which he explained in a Hail Mary letter to one of the best-known cartoon distributors in New York.
债权人开始四处寻找，而沃尔特坚称他已经找到了大胆逃跑的方法，他在给纽约最著名的漫画发行商之一的一封万福玛丽信中解释了这一点。
"We have just discovered something new and clever in animated cartoons," Disney wrote.
迪士尼写道：“我们刚刚在动画中发现了一些新的、聪明的东西。”
His big idea was to insert footage of a real girl into animated scenes.
他的伟大想法是将真实女孩的镜头插入动画场景中。
Alice in Cartoonland , he crowed, was "bound to be a winner."
他欢呼道，《卡通乐园里的爱丽丝》“一定会成为赢家”。
"He was always optimistic about his ability and about the value of his ideas," Disney's business manager recalled.
“他总是对自己的能力和想法的价值感到乐观，”迪士尼的业务经理回忆道。
"He believed in himself, and he believed in what he was trying to accomplish."
“他相信自己，也相信自己想要实现的目标。”
Walt was able to scrape together just enough cash to complete Alice .
沃尔特凑够了足够的现金来完成爱丽丝。
He finished his cartoon experiment with little help while sleeping at the office, bathing at the train station, subsisting on canned beans and the charity of a Greek diner.
他在几乎没有帮助的情况下完成了他的卡通实验，同时在办公室睡觉，在火车站洗澡，靠罐装豆子和希腊小餐馆的施舍维持生计。
But, by the time the cartoon short was finished in the summer of 1923, it was too late.
但是，当这部卡通短片于 1923 年夏天完成时，为时已晚。
His company was headed for bankruptcy court.
他的公司正走向破产法庭。
Alice in Cartoonland would not save Laugh-O-grams, Inc. Walt Disney had suffered his first real failure.
卡通世界里的爱丽丝不会拯救 Laugh-O-grams 公司。沃尔特·迪士尼遭遇了他的第一次真正的失败。
He packed his cardboard suitcase with two spare shirts and what was left of his drawing supplies, then headed for Union Station, where he treated himself to a first-class ticket on the Santa Fe California Limited -- straight through to Los Angeles.
他在纸板箱里装了两件备用衬衫和剩下的绘画用品，然后前往联合车站，在那里他给自己买了一张圣达菲加州有限公司的头等舱机票——直达洛杉矶。
Steven Watts, Historian: : Hollywood in the 1920s is a beacon of the future.
Steven Watts，历史学家：：20 年代的好莱坞是未来的灯塔。
It's this golden city on the west coast.
就是这座西海岸的黄金之城。
Hollywood, Los Angeles -- that's where the action is at.
好莱坞、洛杉矶——这就是活动发生地。
And I think Disney senses that, and that's where he wants to be.
我认为迪士尼意识到了这一点，这就是他想要的。
Neal Gabler, Biographer: : He's not thinking about animation now.
尼尔·加布勒（Neal Gabler），传记作者：：他现在没有考虑动画。
He's already failed with animation.
他在动画方面已经失败了。
So the next step is, "I'm going to go out here and I'm going to become a movie director.
所以下一步是，“我要走出这里，成为一名电影导演。
That's what I'm going to do."
这就是我要做的。”
Narrator: : The want-to-be movie man walked past Charlie Chaplin's studio along La Brea Avenue, rode the trolley to Culver City to see the set used in Ben-Hur, and talked his way onto the Universal lot -- where he wandered around late into the night.
旁白：这位想成为电影人的人沿着拉布雷亚大道走过查理·卓别林的工作室，乘坐电车前往卡尔弗城，参观《宾虚》中使用的布景，然后一路闲逛到了环球影城，在那里他徘徊到深夜。
But after weeks of effort, Walt had not been able to talk his way into a job.
但经过几周的努力，沃尔特还是没能通过说服获得一份工作。
His older brother Roy, who had moved to Los Angeles for health reasons, had little patience for Walt's insistence on finding a place in the movie business.
他的哥哥罗伊因健康原因搬到了洛杉矶，他对沃尔特坚持在电影界谋得一席之地几乎没有耐心。
Roy hadn't been star-struck on arrival.
罗伊刚到的时候并没有受到明星的追捧。
He sold vacuum cleaners door-to-door when he first got to town, and he admonished his brother to find a similar job -- one that paid.
当他第一次进城时，他挨家挨户推销吸尘器，他劝告他的兄弟找一份类似的工作——一份有报酬的工作。
Walt was considering this advice when a cartoon distributor from New York got in touch.
当一位来自纽约的卡通发行商联系到沃尔特时，沃尔特正在考虑这个建议。
Margaret Winkler, the only woman in the business, had remembered Walt's Alice in Cartoonland pitch, and wanted to see how the young animator's big idea had turned out.
玛格丽特·温克勒（Margaret Winkler）是这个行业中唯一的女性，她记得沃尔特（Walt）的《卡通乐园里的爱丽丝》（Alice in Cartoonland）宣传片，并想看看这位年轻动画师的伟大想法是如何实现的。
Soon after Disney shipped his Alice reel to Winkler's office in New York, the distributor wired back an offer.
迪士尼将他的爱丽丝卷轴运送到温克勒纽约办公室后不久，经销商就发回了报价。
She wanted Walt to make 12 Alice shorts, and was willing to pay $1,500 per episode.
她希望沃尔特制作 12 部爱丽丝短片，并愿意为每集支付 1,500 美元。
Neal Gabler, Biographer: : When he gets that telegram, the first thing he does is, he goes to visit his brother Roy.
传记作者尼尔·加布勒：：当他收到那封电报时，他做的第一件事就是去看望他的兄弟罗伊。
And Walt is waving this telegram, saying, "Look!
沃尔特正在挥舞着这封电报，说道：“看！
We've got a chance here!" His brother is not enthusiastic.
我们这里有机会！”他的兄弟并不热心。
His brother has no entertainment ambitions whatsoever.
他的兄弟没有任何娱乐野心。
His brother is the pragmatist.
他的兄弟是实用主义者。
But Walt says, you know, "We can do this.
但沃尔特说，你知道，“我们可以做到这一点。
I need you for this." Roy, as much as he was a naysayer, he loved the enthusiasm of Walt, and I think he thrived on it.
为此我需要你。”罗伊虽然是个反对者，但他喜欢沃尔特的热情，我认为他因此而茁壮成长。
He got joy from participating in the kind of wild schemes of his brother that he himself would never have concocted.
他从参与他哥哥的疯狂计划中获得了快乐，而他自己永远不会策划这些计划。
Roy got release, and Walt got protection.
罗伊被释放，沃尔特得到保护。
Narrator: : The two brothers scraped up a little cash from friends and relatives and set up a two-man operation in the back of a real estate office.
旁白： 两兄弟从朋友和亲戚那里凑了一点现金，在一家房地产办公室后面开了一家两人经营的店。
Walt was the artist and idea man; Roy was the fundraiser, the bookkeeper, and the all-around utility man.
沃尔特是一位艺术家和创意人；罗伊是筹款人、簿记员和全能的公用事业人。
But Walt recognized that he needed the kind of help Roy could not provide.
但沃尔特认识到他需要罗伊无法提供的帮助。
So he convinced an old friend and collaborator, Ub Iwerks, to relocate from Kansas City to Los Angeles.
因此，他说服了老朋友兼合作者乌布·伊沃克斯 (Ub Iwerks) 从堪萨斯城搬到了洛杉矶。
Don Hahn, Animator: : Walt loves to draw, and he can draw, and he gets attention by drawing.
动画师唐·哈恩 (Don Hahn)：沃尔特喜欢画画，他会画画，他通过画画获得关注。
But -- how do I put this discreetly?
但是——我该如何谨慎地表达呢？
Walt Disney wasn't the best artist in the world.
沃尔特·迪士尼并不是世界上最好的艺术家。
He grew up in an era of an age of illustrators that was surrounded by great art.
他成长在一个被伟大艺术包围的插画时代。
Um, he wasn't that.
嗯，他不是那样的。
And I think he saw that pretty early on.
我认为他很早就看到了这一点。
Eric Smoodin, Film Historian: : Iwerks is incredible and can work fast.
Eric Smoodin，电影史学家：：Iwerks 令人难以置信，工作速度很快。
So it's an early sign that Disney always wants to work with the very best and isn't afraid of working with someone who's better than he is at many things.
因此，这是一个早期迹象，表明迪士尼总是希望与最优秀的人合作，并且不害怕与在许多方面比他更优秀的人合作。
Narrator: : Iwerks began re-styling the Alice's Wonderland shorts as soon as he arrived, creating films with less emphasis on the girl and more on the cartoon characters.
旁白：伊沃克斯一到就开始重新设计《爱丽丝梦游仙境》的短片，创作的电影不再强调女孩，而是更多地强调卡通人物。
The Disneys' distributor loved the new look.
迪士尼的经销商很喜欢这个新外观。
They wanted more, and faster, and were willing to pay good money to get them.
他们想要更多、更快，并且愿意花很多钱来获得它们。
Walt recruited more of his old gang from Missouri, then hired some locals, and the number of employees at the Disney studio swelled to a dozen.
沃尔特从密苏里州招募了更多他的老帮派，然后雇佣了一些当地人，迪士尼工作室的员工人数增加到了十几人。
Steven Watts, Historian: : The difference between Laugh-O-grams and Disney Brothers is Roy.
史蒂文·沃茨（Steven Watts），历史学家：：Laugh-O-grams 和迪士尼兄弟之间的区别在于罗伊。
Roy was in the latter and he was not in the former.
罗伊属于后者，但他不属于前者。
And from the very beginning, I think Roy helped put financial and business structure in place that grounded the enterprise.
我认为从一开始，罗伊就帮助建立了为企业奠定基础的财务和业务结构。
Narrator: : The brothers enjoyed their early success, and expected it to continue.
旁白：：兄弟俩很享受早期的成功，并期望这种成功能够持续下去。
Roy bought a stolid new sedan; Walt a snazzy Moon Roadster.
罗伊买了一辆冷漠的新轿车；沃尔特（Walt）是一辆时髦的月球跑车。
They purchased adjoining lots and built new houses next door to each other.
他们购买了相邻的土地并建造了毗邻的新房子。
In the spring of 1925, Roy married Edna Francis, his longtime sweetheart from Kansas City.
1925 年春天，罗伊与他来自堪萨斯城的多年情人埃德娜·弗朗西斯结婚。
Walt, sporting a rakish pencil moustache, acted as best man while escorting his girlfriend Lillian Bounds.
留着俏皮铅笔胡子的沃尔特在护送女友莉莲·邦兹时担任伴郎。
The couple had met in the office, when Lillian was working as an inker at the Disney Brothers Studio.
这对夫妇是在办公室认识的，当时莉莲在迪士尼兄弟工作室担任墨水工。
"He just had no inhibitions," Lillian said of Walt.
“他就是毫无顾忌，”莉莲谈到沃尔特时说道。
"He was completely natural.
“他是完全自然的。
He was fun." Three months after Roy and Edna's wedding, Walt and Lillian tied the knot.
他很有趣。”罗伊和埃德娜结婚三个月后，沃尔特和莉莲喜结连理。
The Disney Brothers Studio was churning out a new Alice short every 16 days at the beginning of 1926, and Walt and Roy were ready to hang their shingle on a more spacious building in the Silver Lake neighborhood of Los Angeles.
1926 年初，迪士尼兄弟工作室每 16 天就会制作一部新的爱丽丝短片，沃尔特和罗伊准备将他们的招牌挂在洛杉矶银湖附近一栋更宽敞的建筑上。
Steven Watts, Historian: : When they moved from the Disney Brothers Studio to the Hyperion Avenue facility, a very striking and a very revealing thing happens.
史蒂文·瓦茨（Steven Watts），历史学家：：当他们从迪士尼兄弟工作室搬到海伯利安大道设施时，发生了一件非常引人注目且非常有启发性的事情。
Walt goes to Roy and he says, "I've made a decision, and that decision is, from hence this will be called the Walt Disney Studio, not the Disney Brothers Studio." Walt Disney believed that it was his vision of creativity and entertainment that was the engine of this enterprise, and that's what was being sold.
沃尔特走向罗伊，他说：“我已经做出了决定，这个决定是，从此以后，这里将被称为华特迪士尼工作室，而不是迪士尼兄弟工作室。”沃尔特·迪士尼相信，他对创造力和娱乐的愿景是这家企业的引擎，而这正是他所推销的东西。
Narrator: : Disney was understandably obsessed with his rivals in the cartoon industry by the end of 1926.
旁白：：到 1926 年底，迪士尼对他在卡通行业的竞争对手的痴迷是可以理解的。
He could tell his Alice pictures were running out of steam and spent much of his free time in darkened theaters, assessing the work of the top New York-based animators: the Fleischer Brothers and Pat Sullivan.
他可以看出他的爱丽丝系列电影已经失去了动力，他把大部分空闲时间都花在黑暗的剧院里，评估纽约顶级动画师的作品：弗莱舍兄弟和帕特·沙利文。
He was taking aim at the industry's gold standard, Sullivan's Felix the Cat.
他瞄准了行业的黄金标准——沙利文的菲利克斯猫。
Sarah Nilsen, Film Historian: : If you look at animation at that period it's extremely crude, it's really violent, it's really gag driven, and it's very urban.
莎拉·尼尔森（Sarah Nilsen），电影史学家：如果你看看那个时期的动画，你会发现它非常粗糙，非常暴力，非常搞笑，而且非常城市化。
These are older men making kind of crude, hard animation.
这些都是年长的人，制作着一些粗糙、硬派的动画。
And Disney steps in as this young guy and he's like, "Okay, well, I see what you're doing, I'll try this out and then I'll figure out my own voice in my other influences around me to transform it."
迪士尼以这个年轻人的身份介入，他说，“好吧，好吧，我明白你在做什么，我会尝试一下，然后我会在周围的其他影响中找出自己的声音来改变它。”
Narrator: : The key to challenging the supremacy of Felix the Cat, Walt believed, was creating his own compelling and likeable character.
旁白：沃尔特认为，挑战菲利克斯猫至高无上地位的关键是创造自己引人注目且讨人喜欢的角色。
Disney's distributor suggested he try a rabbit -- "too many cats on the market." Iwerks took charge of Oswald the Lucky Rabbit's look, while Disney wrote the storylines and the gags.
迪士尼的经销商建议他尝试一只兔子——“市场上的猫太多了。”伊沃克斯负责幸运兔奥斯瓦尔德的造型，而迪士尼负责故事情节和笑点。
The bosses at Universal Pictures were so taken with the first sketches of Oswald they offered a contract for 26 episodes.
环球影业的老板们对奥斯瓦尔德的第一批草图非常着迷，他们提供了一份 26 集的合同。
Walt Disney Studios seemed to be riding high, but by the time the team put the finishing touches on the first order of Oswald shorts, the animators were increasingly frustrated with the boss.
华特迪士尼工作室似乎风光无限，但当团队完成奥斯瓦尔德短片的第一批订单时，动画师们对老板越来越感到沮丧。
The old Kansas City hands who had helped Disney get started in the business, and often without pay, were working into the night and through the weekends, while Walt was taking much of the money and most of the credit.
帮助迪士尼起步的堪萨斯城老员工们常常无薪工作，工作到深夜和整个周末，而沃尔特却拿走了大部分钱和大部分功劳。
Steven Watts, Historian: : I think the two sides of Disney emerge.
史蒂文·瓦茨（Steven Watts），历史学家：：我认为迪士尼有两个方面。
You have on the one hand Walt the Inspirer.
一方面，你有启发者沃尔特。
The other side of Disney was Disney the Driver, who demanded work, who demanded creativity, demanded productivity.
迪士尼的另一面是迪士尼司机，他需要工作，需要创造力，需要生产力。
And if people didn't meet his standards, he could come down on you like a ton of bricks.
如果人们不符合他的标准，他可能会像一堆砖头一样打击你。
Narrator: : Charles Mintz, Margaret Winkler's new husband and business partner, saw an opportunity -- emboldened by the knowledge that he owned the rights to Oswald, and the Disney brothers did not.
旁白：玛格丽特·温克勒的新丈夫兼商业伙伴查尔斯·明茨看到了一个机会，因为他知道自己拥有奥斯瓦尔德的版权，而迪士尼兄弟却没有，这让他更加大胆。
Neal Gabler, Biographer: : Ub Iwerks comes to Walt Disney and says, "Walt, I've been approached by Charles Mintz to essentially leave you and to go to work for Mintz.
传记作者尼尔·加布勒 (Neal Gabler)： 乌布·伊沃克斯 (Ub Iwerks) 来到华特迪士尼并说道：“华特，查尔斯·明茨 (Charles Mintz) 找到我，希望我离开你，为明茨工作。
And I'm not the only one.
而且我不是唯一一个。
All of the animators have.
所有动画师都有。
But they haven't told you."
但他们还没告诉你。”
Steven Watts, Historian: : Disney doesn't believe it.
历史学家史蒂文·瓦茨：迪士尼不相信这一点。
He just sort of pooh-poohs the whole thing and doesn't really believe Ub Iwerks, who says, "No, there's a problem brewing here."
他只是对整件事嗤之以鼻，并不真正相信乌布·伊沃克斯，乌布·伊沃克斯说：“不，这里正在酝酿一个问题。”
Narrator: : Walt went to New York in February of 1928 with big hopes for a new contract from Mintz.
旁白： 1928 年 2 月，沃尔特前往纽约，满怀希望从明茨那里获得一份新合同。
But it only took a few days for Disney to realize that Iwerks had been right -- Mintz had already poached almost all of Disney's artists except for Ub, and the distributor told Walt he was going to go on making the Oswald Cartoons without him.
但迪士尼只花了几天时间就意识到伊沃克斯是对的——明茨已经挖走了除乌布之外的几乎所有迪士尼艺术家，发行商告诉沃尔特，他将在没有他的情况下继续制作奥斯瓦尔德卡通片。
Sarah Nilsen, Film Historian: : Things are unfolding that most people would understand and Disney comes into it shockingly naive.
电影史学家莎拉·尼尔森 (Sarah Nilsen)：事情的发展是大多数人都能理解的，而迪士尼的介入却令人震惊地天真。
It was pretty clear that people were unhappy around him, that he was pretty oblivious to that.
很明显，他周围的人都不满意，而他对此却浑然不觉。
He's very driven by his vision, and, when these kind of business failings occur, he is completely caught off guard.
他非常受自己的愿景驱动，当发生此类业务失败时，他完全措手不及。
Narrator: : When Disney boarded the train for the trip back to Los Angeles, he was despondent.
旁白：：当迪士尼登上返回洛杉矶的火车时，他很沮丧。
Almost all of his team had abandoned him.
几乎所有团队成员都抛弃了他。
He had no distributor, no Oswald , and very little money in the bank.
他没有经销商，没有奥斯瓦尔德，银行里的钱也很少。
Don Hahn, Animator: : Oswald the Rabbit gets taken away from him like a kid taking your lunch money.
Don Hahn，动画师：：兔子奥斯瓦尔德被从他身边夺走，就像一个孩子拿走了你的午餐钱一样。
They were looking the other direction and Oswald was gone.
他们朝另一个方向看去，奥斯瓦尔德已经不见了。
Narrator: : It was a long cross-country ride for Disney.
旁白：：对于迪士尼来说，这是一次漫长的越野之旅。
The train made stops at most of the big cities along the way and blew through countless other small towns on the line.
火车沿途停靠了大部分大城市，并沿途经过了无数其他小镇。
One of them was Marceline, Missouri.
其中之一是密苏里州的马塞琳。
Disney had first seen Marceline at the age of four, when his father had fled the big city of Chicago and moved him, his mother, his three older brothers, and his baby sister to a little farmstead there.
迪士尼第一次见到玛瑟琳是在四岁的时候，当时他的父亲逃离了芝加哥大城市，把他、他的母亲、他的三个哥哥和他的小妹妹搬到了那里的一个小农场。
It was a place Disney never forgot.
这是迪士尼永远不会忘记的地方。
Steven Watts, Historian: : Walt was living in the country, on the edge of this town, and he was surrounded by nature.
史蒂文·瓦茨（Steven Watts），历史学家：沃尔特住在乡村，在这个城镇的边缘，他被大自然包围着。
He could romp through the woods and run through the fields.
他可以在树林里嬉闹，在田野里奔跑。
There were farm animals around, and he loved animals -- had a pet dog, pigs, cows, horses.
周围有农场动物，他喜欢动物——养了一只宠物狗、猪、牛、马。
Sarah Nilsen, Film Historian: : Marceline represents really the one moment in his childhood where he was a child, the place where he really was allowed to be free, where he wasn't being told what to do by his dad.
莎拉·尼尔森，电影史学家：：玛瑟琳确实代表了他童年的那一刻，在那里他真正被允许自由，他的父亲没有告诉他该做什么。
Ron Suskind, Writer: : Marceline was this seemingly idyllic place hitting Disney at a certain age.
罗恩·苏斯金德（Ron Suskind），编剧：：玛瑟琳（Marceline）是这个看似田园诗般的地方，在某个年龄段吸引了迪士尼。
You know, the rhythm and the beat of the place is just right for a kid.
你知道，这个地方的节奏和节奏很适合孩子。
It's like the last breath of something that seems to resemble a traditional childhood.
这就像传统童年的最后一口气。
Narrator: : The Disney family business was a tough go: the margins were always slim, and Elias wasn't much of a farmer.
旁白：迪士尼家族企业的经营之路很艰难：利润总是微薄，而且埃利亚斯也不是一个农民。
Just five years after they arrived, Disney's father announced that the family was pulling up stakes and heading back to the city.
就在他们抵达五年后，迪士尼的父亲宣布全家将撤回这座城市。
Walt Disney (archival audio): : My dad sold the farm, but then he had to auction all the stock and things.
沃尔特·迪士尼（档案音频）：：我爸爸卖掉了农场，但后来他不得不拍卖所有的股票和东西。
And it was in the cold of the winter, and I remember Roy and myself going out and going all around to the different little towns and places, tacking up these posters of the auction.
那是在寒冷的冬天，我记得罗伊和我自己出去，走遍了不同的小镇和地方，贴上了这些拍卖海报。
Neal Gabler, Biographer: : Walt Disney once said that he'll never forget his days in Marceline and almost everything important that happened to him happened in Marceline.
传记作者尼尔·加布勒：沃尔特·迪士尼曾经说过，他永远不会忘记在马瑟琳的日子，几乎所有发生在他身上的重要事情都发生在马瑟琳。
But I think that has to include also the losing of Marceline.
但我认为这还必须包括玛瑟琳的去世。
Narrator: : When Walt and Lillian arrived at Union Station in Los Angeles in mid-March 1928, Ub Iwerks detected none of his friend's trademark good cheer and enthusiasm.
旁白： 1928 年 3 月中旬，当沃尔特和莉莲抵达洛杉矶联合车站时，乌布·伊沃克斯没有发现他朋友标志性的愉快和热情。
He looked like he'd just run into a "stone wall," Ub would say.
乌布会说，他看上去就像是撞到了一堵“石墙”。
Neal Gabler, Biographer: : Coming from the Disney family, where his father had suffered so many successive failures, I think you can only imagine the impact that had on Walt Disney.
传记作者尼尔·加布勒：：来自迪士尼家族，他的父亲在家族中经历了多次失败，我想你只能想象这对华特迪士尼的影响。
Failure was a big thing in the Disney family.
失败对于迪士尼家族来说是一件大事。
Sarah Nilsen, Film Historian: : Where his dad just continually gets more and more depressed, quits basically, Walt steps up.
莎拉·尼尔森（Sarah Nilsen），电影史学家：：他的父亲不断变得越来越沮丧，基本上放弃了，而沃尔特挺身而出。
Boom.
繁荣。
You think Oswald was good?
你觉得奥斯瓦尔德很好吗？
I can do much better than that.
我可以做得更好。
I'll show you what I'm capable of doing.
我会告诉你我有能力做什么。
Narrator: : Disney held daily brainstorming sessions with Roy and Ub and a few other loyalists who had not signed with Mintz.
旁白：迪士尼每天与罗伊、乌布以及其他一些尚未与明茨签约的忠实拥护者举行头脑风暴会议。
Intent on dreaming up a bankable new character -- and one they would own -- Disney's skeleton team scoured popular magazines for inspiration, bounced ideas off one another, and drew figures on their sketchpads...
迪士尼的骨架团队一心想创造出一个可以赚到钱的新角色——并且是他们自己的角色——他们在流行杂志上搜寻灵感，互相交流想法，并在画板上画出人物……
until something began to emerge.
直到某些东西开始出现。
"Pear-shaped body, ball on top, a couple of thin legs," Iwerks later explained.
“梨形身材，顶部有球，两条细腿，”伊沃克斯后来解释道。
"You gave it long ears, and it was a rabbit.
“你给它长耳朵，它就是一只兔子。
Short ears, it was a cat.
耳朵短，是只猫。
With an elongated nose, it became a mouse." Walt suggested they name him Mortimer.
鼻子变长了，它变成了一只老鼠。”沃尔特建议他们给他起名叫莫蒂默。
Lillian thought that was terrible and came up with Mickey.
莉莲觉得这太糟糕了，于是想到了米奇。
As with Oswald, Ub took charge of the mouse's look.
与 Oswald 一样，Ub 负责鼠标的外观。
Walt gave him his personality.
沃尔特赋予了他个性。
Carmenita Higginbotham, Art Historian: : He doesn't have the financial backing to support what it is he's doing.
Carmenita Higginbotham，艺术史学家：：他没有经济支持来支持他正在做的事情。
He wants to be a bigger voice than he is.
他想发出比他更大的声音。
And it's a perfect metaphor him being this small mouse, this seemingly insignificant figure or individual within this big industry that he wants to break into.
这是一个完美的比喻，他是一只小老鼠，一个在他想要闯入的大行业中看似微不足道的人物或个人。
Narrator: : Disney was unable to find a distributor willing to take a chance on his first two Mickey shorts, but Walt refused to give up on his mouse.
旁白：迪士尼无法找到愿意在他的前两条米奇短裤上冒险的经销商，但沃尔特拒绝放弃他的鼠标。
At a meeting with Roy one day, as the tiny staff worked up a third -- and still unsold -- Mickey Mouse cartoon, Walt suddenly blurted out, "We'll make them over with sound!"
有一天，在与罗伊的一次会议上，当这支小团队正在制作第三部（仍未售出）米老鼠卡通片时，沃尔特突然脱口而出：“我们要用声音来改造它们！”
Sarah Nilsen, Film Historian: : "How can I do something better with animation than what everybody else is doing?" He's always the person looking for new technology.
电影史学家 Sarah Nilsen：“我怎样才能用动画做得比其他人做得更好？”他总是寻找新技术的人。
He's always the person trying to find the newest invention to make animation better.
他总是试图寻找最新发明来使动画变得更好。
Eric Smoodin, Film Historian: : At the time, producing a soundtrack in synch with and music that makes sense with the action on screen is very difficult.
电影史学家埃里克·斯穆丁 (Eric Smoodin)： ：当时，制作与银幕上的动作同步的配乐和音乐是非常困难的。
This was a very precise and intricate process that Disney had to think through.
这是迪士尼必须仔细考虑的一个非常精确和复杂的过程。
And also it's unclear that the money it costs to make a sound film can possibly pay off with tickets sold.
而且目前还不清楚制作一部有声电影所花费的钱是否可以通过售出门票来回报。
Narrator: : Disney saw no good option but to take the chance.
旁白：：迪士尼别无选择，只能抓住机会。
He headed back to New York and signed a quick deal with the licensor of one of the most advanced sound systems in town.
他回到纽约并与城里最先进的音响系统之一的许可人签署了一项快速协议。
Walt didn't have enough money in the bank to pay for the recording sessions, so he wired Roy to do whatever he had to, to get the cash.
沃尔特在银行里没有足够的钱来支付录音费用，所以他给罗伊打了电报，让他尽一切努力来获取现金。
He told his brother to sell his beloved Moon Roadster if needed.
他告诉他的兄弟如果需要的话可以卖掉他心爱的月球跑车。
Stuck in New York to oversee the sound work, Walt trolled desperately for a distributor.
沃尔特被困在纽约监督声音工作，拼命寻找发行商。
He carried his reels from one office to another for three long months -- and came up empty.
他带着卷轴从一间办公室搬到另一间办公室，花了三个月的时间，但结果却是空空如也。
He did manage to secure a two-week run at the Colony Theater -- Broadway and 53rd.
他确实成功地在殖民地剧院——百老汇和第 53 剧院上演了两周。
Steamboat Willie premiered on November 18, 1928.
《威利汽船》于 1928 年 11 月 18 日首映。
Narrator: : The crowd at the Colony Theater was in thrall.
旁白：：殖民地剧院的观众都被吸引住了。
People heard sound in pictures before, but never like this.
以前人们在图片中听到过声音，但从来没有像现在这样。
The music and sound effects were part of the gags.
音乐和音效是搞笑的一部分。
"It knocked me out of my seat," one New York reporter wrote.
“这让我从座位上摔下来，”一位纽约记者写道。
A few audiences begged the projectionist to delay the start of the feature and re-run Steamboat Willie .
一些观众恳求放映员推迟该片的开始时间并重新放映《威利汽船》。
Tom Sito, Writer: : Steamboat Willie was such a huge hit, and it gave Disney Studio a really sort of a preeminence, where suddenly this company is now like taking a step to the front ranks.
汤姆·西托（Tom Sito），编剧：《威利号汽船》非常受欢迎，它给迪士尼工作室带来了真正的卓越地位，突然之间，这家公司就像向前迈出了一步。
This upstart from the West Coast just erupts in the middle of everybody with this amazing character.
这位来自西海岸的新贵凭借其令人惊叹的性格在每个人的心中爆发。
Narrator: : Mickey was a multi-talented charmer -- a dancer, a comedian, a singer, and within months, never mind he was just a cartoon, Mickey Mouse was the newest Hollywood celebrity.
旁白：米奇是一位多才多艺的魅力者——舞蹈家、喜剧演员、歌手，几个月之内，不管他只是一个卡通片，米老鼠就成为了最新的好莱坞名人。
Narrator: : While the country slid toward economic disaster in 1930, the fame of the Disney mouse just kept growing, as did Mickey's standing as the archetype of the American can-do spirit.
旁白： 1930 年，当美国陷入经济灾难时，迪士尼老鼠的名气却与日俱增，米奇作为美国进取精神典范的地位也与日俱增。
Carmenita Higginbotham, Art Historian: : Mickey Mouse is scrappy.
Carmenita Higginbotham，艺术史学家：：米老鼠是好斗的。
Mickey Mouse is a survivor.
米老鼠是幸存者。
Mickey Mouse is somebody during the years of the Depression who takes a limited number of skills and a limited number of resources and he always ends up on top.
米老鼠是大萧条时期的人物，他只需要有限的技能和有限的资源，但他总是能取得成功。
Ron Suskind, Writer: : Mickey's like, "Hey.
罗恩·苏斯金德（Ron Suskind），编剧：：米奇就像是，“嘿。
I'm smart.
我很聪明。
I can do anything.
我可以做任何事。
I get into trouble but I get out of it.
我陷入困境，但我摆脱了困境。
I'm sort of rebellious." You know, "I live by my own rules." He's an adolescent dream is what he is -- rebelling and making it work.
我有点叛逆。”你知道，“我按照自己的规则生活。”他就是一个青春期的梦想——叛逆并让它实现。
That's Mickey.
那是米奇。
Steven Watts, Historian: : Walt Disney was certainly not a social theorist.
历史学家史蒂文·瓦茨：沃尔特·迪士尼当然不是社会理论家。
He certainly didn't think through the problems of the Depression.
他当然没有考虑到大萧条的问题。
But what Disney did do was to have a kind of instinctive, impulsive feel for the problems and the hopes of ordinary people.
但迪士尼所做的是对普通人的问题和希望有一种本能的、冲动的感觉。
Sarah Nilsen, Film Historian: : There's always mishap.
莎拉·尼尔森，电影史学家：：总会有不幸的事情发生。
There's always sort of the slapstick-y bit that interferes with his success, and then he triumphs and he wins at the end.
总是有一些闹剧干扰了他的成功，然后他胜利了，最后他赢了。
And he usually gets the girl, too.
他通常也会得到那个女孩。
Mickey Mouse (archival): : Let's all sing the chorus, again!
米老鼠（档案）：：让我们再次合唱吧！
Ooh the old…
老了哦…
Narrator: : Mickey Mouse Clubs began sprouting up at local movie theaters.
旁白：：米老鼠俱乐部开始在当地电影院兴起。
More than a million children signed up.
超过一百万儿童报名参加。
Roy encouraged the clubs, and saw in Mickey's growing popularity another possible stream of revenue -- licensing.
罗伊鼓励俱乐部，并在米奇日益受欢迎的过程中看到了另一个可能的收入来源——授权。
The Disneys had made a few haphazard deals to allow Mickey's likeness on children's toys following the example of other popular characters like Felix the Cat.
迪士尼公司效仿菲利克斯猫等其他受欢迎的角色，达成了一些随意的协议，允许在儿童玩具上使用米奇的肖像。
But the Walt Disney Studio got less than five percent of the take, and saw little revenue -- until they brought in Kay Kamen.
但华特迪士尼工作室只获得了不到 5% 的收入，而且几乎没有什么收入——直到他们引进了凯·卡门。
Steven Watts, Historian: : He was an ad man.
史蒂文·瓦茨（Steven Watts），历史学家：：他是一名广告人。
He was a marketer.
他是一名营销人员。
He had a very keen sense what we would call branding.
他对我们所说的品牌有着非常敏锐的感觉。
Kamen is a genius for doing these licensing agreements with companies all over the United States who want to associate their products with the success of the Disney studio.
假面是一个天才，他与美国各地的公司签订了这些许可协议，这些公司希望将自己的产品与迪士尼工作室的成功联系起来。
Narrator: : The Disney brothers gave Kamen the exclusive rights to license Mickey Mouse -- along with his girlfriend Minnie, his dog Pluto, and later Donald Duck.
旁白：迪士尼兄弟授予卡门独家授权米老鼠、他的女朋友米妮、他的狗普鲁托以及后来的唐老鸭。
The studio kept a tight rein on how their productions, especially their mouse, could be used, and they demanded a big cut of the profits, but they had plenty of willing partners because Mickey Mouse moved product.
工作室严格控制他们的产品，尤其是鼠标的使用方式，他们要求大幅削减利润，但他们有很多愿意合作的合作伙伴，因为米老鼠移动了产品。
By the early 1930s, fans could buy Mickey-adorned merchandise by the scores.
到 1930 年代初，粉丝们可以大量购买米奇装饰的商品。
The Mickey Mouse watch became the most popular timepiece in America.
米老鼠手表成为美国最受欢迎的手表。
Fan mail for Mickey Mouse poured into the studio on Hyperion Avenue, with postmarks from across the United States, from England, Spain, the Philippines.
米老鼠的粉丝邮件涌入海伯利安大道的工作室，邮戳来自美国各地、英国、西班牙、菲律宾。
Some were addressed to Mickey, some to Walt.
有些是写给米奇的，有些是写给沃尔特的。
Eric Smoodin, Film Historian: : Mickey is understood as being the creation of Disney.
埃里克·斯穆丁 (Eric Smoodin)，电影史学家： 米奇被认为是迪士尼的创造物。
And Disney is understood as being the father of Mickey.
迪士尼被认为是米奇的父亲。
And combined, that makes for a kind of international stardom that we really hadn't seen before.
综合起来，这就形成了一种我们以前从未见过的国际明星形象。
Don Hahn, Animator: : When everybody else is suffering Walt Disney is selling consumer products, and making millions of dollars out of Mickey Mouse.
动画师唐·哈恩 (Don Hahn)：当其他人都在受苦时，华特迪士尼却在销售消费品，并从米老鼠身上赚取了数百万美元。
And that's a huge story that this little mouse turns into the future of the Walt Disney Company.
这是一个伟大的故事，这只小老鼠变成了华特迪士尼公司的未来。
Neal Gabler, Biographer: : Walt Disney always talked about Mickey Mouse as being his alter ego.
尼尔·加布勒（Neal Gabler），传记作者：：沃尔特·迪士尼总是将米老鼠视为他的另一个自我。
He would say that, "You know, I'm closer to Mickey Mouse than I am to anyone else."
他会说：“你知道，我与米老鼠的关系比与其他任何人的关系都要近。”
Ron Suskind, Writer: : Mickey and Walt are talking to each other...
Ron Suskind，编剧：：米奇和沃尔特正在互相交谈......
Ron Suskind, Writer: : …so he's got to do Mickey's voice.
罗恩·苏斯金德（Ron Suskind），编剧：……所以他必须为米奇配音。
Someone's got to do it, so of course Walt does it because it's him talking to himself.
总得有人这么做，所以沃尔特当然这么做了，因为这是他自言自语。
"So, Mickey, how're you feeling today?" [Mimics Mickey Mouse] "You know, I feel great.
“那么，米奇，你今天感觉怎么样？” [模仿米老鼠]“你知道，我感觉很棒。
Do you know it wasn't an easy day?
你知道这不是轻松的一天吗？
You know, maybe tomorrow, who knows?
你知道，也许明天，谁知道呢？
You know, let's get into a little bit of trouble.
你知道，让我们遇到一点麻烦吧。
You and me."
你和我。”
Narrator: : Walt Disney was not yet 30, and he had made himself the first celebrity of animation -- a film cartoonist the public could name.
旁白：沃尔特·迪士尼还不到30岁，他让自己成为动画界的第一位名人——公众能说出名字的电影漫画家。
His studio stood atop the industry, and was growing to meet the demand for new Mickey cartoons.
他的工作室处于行业领先地位，并不断发展以满足新米奇卡通片的需求。
The success of Mickey lured plenty of good talent to Hyperion, some of the best in the business, but Disney insisted on having the final word on every foot of finished film that came out of his studio.
米奇的成功吸引了大量优秀人才来到海伯利安，其中一些是业内最优秀的人才，但迪士尼坚持对从他的工作室出来的每一部成品电影都有最终决定权。
He spent long hours at the office -- often until one or two o'clock in the morning -- and still had a hard time keeping up.
他在办公室待了很长时间——经常工作到凌晨一两点——但仍然很难跟上。
He was anxious and obsessive, chain-smoking day and night, drumming his thumbs impatiently on the table in story meetings.
他既焦虑又沉迷，日夜不停地抽烟，在故事会上不耐烦地用拇指敲击桌子。
Michael Barrier, Writer: : His role was changing in the studio.
迈克尔·巴里尔（Michael Barrier），编剧：：他在工作室中的角色正在发生变化。
He was leaving behind the things that were so familiar to him -- working with his hands, being an active participant in the work -- becoming more and more a man who was the intellectual overseer, evaluating, criticizing, editing.
他正在抛弃那些他如此熟悉的东西——用手工作，积极参与工作——越来越成为一个知识分子的监督者，评估、批评、编辑。
And as he stepped back from this more active participation, he initially was, I think, very distressed by it, felt uncomfortable doing it.
当他退出这种更积极的参与时，我认为他最初对此感到非常痛苦，感到不舒服。
Narrator: : Walt had talked of having a big family of his own for years.
旁白：沃尔特多年来一直谈论拥有自己的大家庭。
He wanted 10 children, he would tell his sister, and he would spoil them all.
他想要10个孩子，他会告诉他的妹妹，他会宠坏他们所有人。
Lillian had her doubts about raising any number of children, especially when she considered the office hours Walt kept.
莉莲对抚养孩子的数量感到怀疑，尤其是当她考虑到沃尔特的办公时间时。
But he talked her into it -- Roy and Edna had had their first child, already -- and by the spring of 1931, Lillian was pregnant.
但他说服了她——罗伊和埃德娜已经有了他们的第一个孩子——到 1931 年春天，莉莲怀孕了。
Walt was giddy.
沃尔特头晕目眩。
He was already making plans for a bigger house to accommodate the new addition.
他已经在计划建造一座更大的房子来容纳新的扩建部分。
Then Lillian miscarried.
然后莉莲流产了。
Disney waved off the well-wishers and sympathizers.
迪士尼向祝福者和同情者挥手致意。
He threw himself back into his work.
他重新投入到工作中。
He insisted he was fine.
他坚称自己很好。
He was not.
他不是。
Walt Disney (archival audio): : In 1931 I had a hell of a breakdown.
沃尔特·迪士尼（档案音频）： 1931 年，我彻底崩溃了。
I went all to pieces.
我整个人都崩溃了。
It was just pound, pound, pound.
这只是一磅，一磅，一磅。
And it was costs.
这是成本。
My costs were going up.
我的成本不断上升。
I was always way over whatever they figured the pictures would bring in.
我总是远远超过他们认为这些照片会带来什么。
And I cracked up.
我笑了。
I just got very irritable.
我只是变得非常烦躁。
I got to the point that I couldn't talk on the telephone.
我已经到了无法打电话的地步。
I'd begin to cry, and the least little thing, I'd just go that way.
我会开始哭泣，即使是最微不足道的事情，我也会那样做。
Narrator: : In October 1931, Walt Disney took his doctor's advice and escaped on the first real vacation of his life.
旁白： 1931 年 10 月，沃尔特·迪士尼听从医生的建议，开始了他人生中第一个真正的假期。
He and Lillian went across the country to Washington, D.C., then to Key West, and on to a week's stay in Cuba.
他和莉莲穿越全国到达华盛顿特区，然后到达基韦斯特，最后在古巴停留了一周。
They rode a steamship through the Panama Canal on the way back to Los Angeles.
他们乘坐轮船穿过巴拿马运河返回洛杉矶。
Once home, Disney told people that the breakdown had been a godsend.
回到家后，迪士尼告诉人们，这次故障是天赐之物。
Life was sweet, he said, and there was more to it than work.
他说，生活很甜蜜，而且除了工作之外还有更多的事情要做。
He dove into a new exercise regimen, went with Lillian on long horseback rides, learned to play polo, and joined a league.
他开始了一种新的锻炼方式，和莉莲一起长途骑马，学会了打马球，并加入了一个联盟。
Neal Gabler, Biographer: : Walt comes back from his nervous breakdown and he does change his lifestyle.
传记作者尼尔·加布勒：沃尔特从精神崩溃中恢复过来，他确实改变了自己的生活方式。
But does Walt Disney withdraw?
但华特迪士尼会退出吗？
Does he delegate?
他授权吗？
Does he do the things that one might have expected him to do?
他做了人们可能期望他做的事情吗？
No, he does not.
不，他没有。
Narrator: : Disney had never been shy about spending money on his vision, even when the studio was cash poor.
旁白：：即使工作室现金匮乏，迪士尼也从不羞于为他的愿景花钱。
He had already used up his earliest Mickey profits in the creation of a new series of cartoon shorts called Silly Symphonies .
他已经用了最早的米奇利润来创作一系列名为《愚蠢交响曲》的新卡通短片。
Eric Smoodin, Film Historian: : The Silly Symphonies were much more about animation as art.
埃里克·斯穆丁（Eric Smoodin），电影史学家：：《愚蠢的交响曲》更多地是关于动画作为艺术。
So The Skeleton Dance and others like them were understood as these wonderful almost avant-garde films that merged music and dance, and made characters out of nature and also other kinds of inanimate things in ways that people hadn't really seen before.
因此，《骷髅舞》和其他类似的电影被理解为这些精彩的近乎前卫的电影，它们融合了音乐和舞蹈，并以人们以前从未真正见过的方式从自然和其他无生命的事物中塑造了人物。
Narrator: : Silly Symphonies raised Walt to near mythic status among cartoonists and animators.
旁白：《愚蠢的交响曲》将沃尔特提升到了漫画家和动画师心目中近乎神话的地位。
Artists from all over the country packed their bags and headed for California, just for the chance to work with the great Walt Disney.
来自全国各地的艺术家收拾行李前往加州，只为有机会与伟大的华特·迪士尼合作。
The Hyperion staff grew to nearly 200.
Hyperion 的员工人数增加到近 200 人。
Men ruled the studio, as they did all studios in the 1930s; the women who came to work at Disney were relegated to the low-wage ink-and-paint department.
正如 20 世纪 30 年代的所有工作室一样，男性统治了工作室。来迪士尼工作的女性被降级到低工资的油墨和油漆部门。
In the middle of the Great Depression, few complained about a steady job with steady pay.
在大萧条中期，很少有人抱怨稳定的工作和稳定的工资。
Sarah Nilsen, Film Historian: : It becomes like the studio to work at.
电影历史学家莎拉·尼尔森：：它就像工作的工作室。
And all of those animators just thrive because Disney sets it up as a legitimate profession.
所有这些动画师之所以蓬勃发展，是因为迪士尼将其设置为合法职业。
"Here I step in.
“我在这里介入。
I will recognize your talent.
我会认可你的才华。
I will pay you well."
我会好好报酬你的。”
Robert Givens, Animator: : It was like a renaissance to us, you know.
动画师罗伯特·吉文斯：：你知道，这对我们来说就像一场文艺复兴。
It was a flowering of the animation industry.
这是动画产业的繁荣时期。
It'd never been done before.
以前从未这样做过。
This was fine art, you know, not just dumb cartoons.
你知道，这是精美的艺术，而不仅仅是愚蠢的卡通片。
Narrator: : Disney's new series was the test ground for innovation, with firsts in sound technique, color and multi-plane camera technology, which produced a three-dimensional depth never before seen in animation.
旁白：迪士尼的新系列是创新的试验场，在声音技术、色彩和多平面摄像机技术方面都是首创，产生了动画中前所未有的三维深度。
Neal Gabler, Biographer: : Walt intended the studio to be the place where you created great art.
传记作者尼尔·加布勒：沃尔特希望工作室成为您创造伟大艺术的地方。
That was so instrumental to Walt's understanding of the studio.
这对于沃尔特对工作室的理解非常有帮助。
And that became, in many ways, the most powerful element in how he dealt with his workers.
从很多方面来说，这成为他对待员工的最有力的因素。
They wanted to produce great things.
他们想要创造伟大的东西。
He made them want to produce great things.
他让他们想要创造伟大的事物。
Tom Sito, Animator: : He was very jovial.
Tom Sito，动画师：：他非常快乐。
He was very informal.
他非常不拘礼节。
He's the one who first insisted on only being referred to by his first name.
他是第一个坚持只称呼他的名字的人。
Ruthie Tompson, Ink and Paint Artist: : Boss?
Ruthie Tompson，墨水和绘画艺术家：：老板？
He wasn't boss.
他不是老板。
He was a friend.
他是一个朋友。
And everybody called him Walt.
每个人都叫他沃尔特。
If they didn't call him Walt, that was the end of that one.
如果他们不叫他沃尔特，那件事就结束了。
Robert Givens, Animator: : We used to play volleyball at noon, over there across the street in the annex.
罗伯特·吉文斯，动画师：：我们过去常常中午在街对面的附楼里打排球。
And Walt used to come over there and watch us, you know.
你知道，沃尔特过去常常过来观察我们。
He used to say, "Don't play too rough," he'd say.
他常说：“不要太粗暴，”他会说。
And he wanted us to be careful, not hurt our hands, our drawing hand, particularly.
他希望我们小心，不要伤害我们的手，尤其是我们画画的手。
And we loved to win, because then he'd applaud.
我们喜欢获胜，因为那样他就会鼓掌。
But he was the big daddy there.
但他是那里的大爸爸。
He didn't miss anything.
他没有错过任何事情。
Narrator: : Disney offered drawing classes at the studio, and brought in professors from the Chouinard Art Institute to teach them.
旁白：：迪士尼在工作室开设了绘画课程，并聘请了乔伊纳德艺术学院的教授来授课。
He invited experts to lecture on Impressionism, Expressionism, Cubism, the Mexican Muralists.
他邀请专家就印象派、表现主义、立体主义、墨西哥壁画家等进行讲座。
Don Hahn, Animator: : He was always very much about not only hiring the artists, but providing a safe place for them to do their job.
Don Hahn，动画师：：他不仅非常重视雇用艺术家，而且还为他们提供一个安全的工作场所。
And by "safe," I mean a place to make mistakes, and a place to fail, and a place to take criticism without the fear of being fired, and a place to be able to learn.
我所说的“安全”是指一个可以犯错误的地方，一个可以失败的地方，一个可以接受批评而不用担心被解雇的地方，一个可以学习的地方。
Ron Suskind, Writer: : He wanted a family, a community, a place.
罗恩·苏斯金德（Ron Suskind），作家：：他想要一个家庭、一个社区、一个地方。
"I can actually create a little world, bordered, mine, just what I need it to be.
“我实际上可以创造一个小世界，有边界，我的，正是我所需要的。
Inhabited by all these people.
居住着所有这些人。
A community marked 'Disney.'"
一个标有‘迪士尼’的社区。”
Narrator: : Walt Disney, not yet 35, appeared to be in possession of the magic beans; his studio was a Technicolor rainbow in the middle of the pale, gray Depression-era America.
旁白：：沃尔特·迪士尼，还不到35岁，似乎拥有魔豆；他的工作室是大萧条时期苍白、灰色的美国中部的一道彩色彩虹。
His home life was thriving too: Lillian had given birth to a daughter, Diane, and the Disneys would soon adopt a second daughter, Sharon.
他的家庭生活也很幸福：莉莲生下了一个女儿黛安，迪士尼一家很快就会收养第二个女儿莎伦。
But Disney wasn't satisfied.
但迪士尼并不满足。
He needed a "new adventure," he would say.
他会说，他需要一次“新的冒险”。
"A kick in the pants to jar loose some inspiration and enthusiasm."
“一脚踢裤子，激发一些灵感和热情。”
Disney's employees were still telling the story decades later: One evening in 1934, Walt sent his entire staff out for an early dinner, but told them to hurry back to the Hyperion soundstage for an important company meeting.
几十年后，迪士尼的员工仍在讲述这个故事：1934 年的一个晚上，沃尔特派他的全体员工出去吃早饭，但告诉他们赶紧回到海伯利安摄影棚参加一次重要的公司会议。
The room was buzzing by the time Walt took the stage.
当沃尔特上台时，房间里嗡嗡作响。
Neal Gabler, Biographer: : Disney is lit on the sound stage, and he then proceeds to act out -- alone, just him, a one-man show -- the story of Snow White.
传记作者尼尔·加布勒：迪士尼在摄影棚上点亮了灯光，然后他开始表演——独自一人，只有他一个人表演——白雪公主的故事。
Steven Watts, Historian: : What he did was to go through the whole movie as he saw it, acting out all of the parts, impersonating all of the characters, going through all the emotions, all the ups and downs -- the queen, the princess, the seven dwarves, even the animals.
史蒂文·沃茨，历史学家：：他所做的就是按照他所看到的方式浏览整部电影，表演所有的部分，模仿所有的角色，经历所有的情感，所有的起起落落——女王、公主、七个小矮人，甚至动物。
Narrator: : What Disney was proposing had never been done, never even been tried: a feature-length, story-driven cartoon.
旁白：迪士尼所提议的内容从未被做过，甚至从未被尝试过：一部长篇、故事驱动的动画片。
Steven Watts, Historian: : Roy Disney was pretty skeptical about all of this.
史蒂文·瓦茨（Steven Watts），历史学家：罗伊·迪士尼对这一切都非常怀疑。
And the more he thought about it, actually, the more convinced he became that this could be a disaster for the studio because he was afraid that, it wouldn't sell, that people wouldn't see it, and it would drag the studio down into bankruptcy.
实际上，他想得越多，他就越相信这对工作室来说可能是一场灾难，因为他担心它卖不出去，人们看不到它，这会把工作室拖入破产的境地。
And Roy dug in his heels.
罗伊则坚定不移。
Narrator: : Walt would not let it go.
旁白：：沃尔特不会放过它。
He was convinced this century-old Brother's Grimm fairy tale about a virtuous princess chased into a deep, dark forest by her hateful stepmother was a can't-miss proposition.
他确信这个有百年历史的格林童话故事是一个不容错过的机会，故事讲述了一位善良的公主被她可恶的继母追入黑暗的森林深处。
Neal Gabler, Biographer: : He must have told that story after that first night, you know, a thousand times.
传记作家尼尔·加布勒：：在第一个晚上之后，他肯定已经把这个故事讲了一千遍了。
People would always say he'd collar them in the hallway and tell the story of Snow White again.
人们总是说他会把他们锁在走廊里并再次讲述白雪公主的故事。
He'd have to repeat it again and again and again, to keep them energized, to keep himself energized, and to review the film in his head so that it was always rolling.
他必须一遍又一遍地重复，让他们保持活力，让自己保持活力，并在脑海中回顾电影，以便它始终滚动。
This was obsession.
这就是痴迷。
Narrator: : Walt's excitement was catching.
旁白：：沃尔特的兴奋令人难以忘怀。
"We were just carried away," remembered one animator.
“我们简直太着迷了，”一位动画师回忆道。
"I would've climbed a mountain full of wildcats to do everything I could to make Snow White ."
“我愿意爬上一座满是野猫的山，尽我所能来拍摄白雪公主。”
Roy grudgingly came around and managed to shake the money free from their longtime lender, Bank of America.
罗伊不情愿地改变了态度，并设法从他们的长期贷款人美国银行手中摆脱了这笔钱。
But he warned his brother the bankers were very nervous about this gamble, and they expected Walt to stay on schedule and within the agreed-upon budget.
但他警告他的兄弟，银行家们对这场赌博非常紧张，他们希望沃尔特能够按计划并在商定的预算范围内。
The schedule, the budget, the company's debt were secondary considerations to Walt, who was preoccupied with a single overriding problem: how to translate his idea to the big screen.
对沃尔特来说，时间表、预算、公司债务都是次要考虑因素，他专注于一个最重要的问题：如何将他的想法转化为大银幕。
Snow White would have to captivate its audience in a way no cartoon ever had before.
《白雪公主》必须以卡通片从未有过的方式吸引观众。
Neal Gabler, Biographer: : In the shorter cartoons, you can make people laugh.
尼尔·加布勒（Neal Gabler），传记作者：：在较短的动画片中，你可以让人发笑。
And the gag is the basic component of these things.
而堵嘴就是这些东西的基本组成部分。
You get people to laugh.
你会让人们发笑。
But Walt Disney now is asking another question: Can you make people cry?
但华特迪士尼现在问了另一个问题：你能让人哭吗？
Can you make people cry over a drawing?
你能让人因为一幅画而哭泣吗？
Narrator: : One key, Disney believed, was to infuse his animated film with a natural realism.
旁白：迪士尼认为，关键在于为他的动画电影注入自然的现实主义色彩。
He brought live animals into the studio so his artists could study their movement.
他将活体动物带入工作室，以便他的艺术家可以研究它们的动作。
He had his animators throw heavy objects through glass plate windows just to analyze the shattering effects.
他让动画师将重物扔进玻璃窗，只是为了分析破碎效果。
Disney hired a teen-age dancer to act the part of Snow White -- so his animators could study how she looked when she leaned over, or laughed or smiled; so they could see the movement of her dress as she danced.
迪士尼聘请了一名十几岁的舞者来扮演白雪公主，这样他的动画师就可以研究她弯腰、大笑或微笑时的样子；这样他们就能看到她跳舞时裙子的舞动。
Steven Watts, Historian: : They would bring in actors and they would have them impersonate these characters in front of the animators, who would try to capture certain qualities of their movements.
史蒂文·瓦茨（Steven Watts），历史学家：：他们会请演员在动画师面前模仿这些角色，动画师会尝试捕捉他们动作的某些品质。
They would even film them to try to get a sense of personality, of movement, of realism.
他们甚至会拍摄它们，试图获得一种个性、运动和现实感。
Michael Barrier, Writer: : What he was after was something different, making thought and emotion visible in a way that seems natural and not artificial.
迈克尔·巴里尔（Michael Barrier），作家：：他所追求的是不同的东西，让思想和情感以一种看起来自然而不是做作的方式可见。
Tom Sito, Animator: : Disney really kind of took the art of animation and pushed it towards the animator as an actor and about performance.
Tom Sito，动画师：迪士尼确实将动画艺术推向了动画师作为演员和表演的方向。
He wanted his animators to take acting classes.
他希望他的动画师参加表演课程。
Studying their facial muscles, how you say certain words, you know.
研究他们的面部肌肉，你如何说某些词，你知道。
How is your lips shaped when you say, "V," or how is like, "O," or "Ooh"?
当你说“V”或“O”或“Ooh”时，你的嘴唇形状如何？
You know.
你知道。
You know, how does it affect your eyes?
你知道它对你的眼睛有什么影响吗？
Richard Schickel, Writer: : There were no rules.
理查德·希克尔（Richard Schickel），作家：：没有规则。
They hadn't been invented before.
它们以前没有被发明过。
So, you're kind of free to do anything you wanted to do.
所以，你可以自由地做任何你想做的事情。
Follow your instincts and do it.
跟随你的直觉并去做。
Narrator: : Walt's stubborn insistence on getting the story right, on innovation, and on attention to detail meant the pace of production at Hyperion was glacial.
旁白：沃尔特固执地坚持要讲好故事、坚持创新、注重细节，这意味着海伯利安的制作节奏缓慢。
Neal Gabler, Biographer: : To draw each of these characters, to draw these backgrounds, to do it in a way that transcends anything that had been done before, is excruciating.
传记作者尼尔·加布勒：绘制这些角色中的每一个，绘制这些背景，以一种超越以往任何方式的方式来完成，是令人痛苦的。
It's grueling.
太累人了。
It's painful.
很痛苦。
It's tormenting.
真是折磨人。
Robert Givens, Animator: : We were the crew that did most of the Snow White drawings.
动画师罗伯特·吉文斯：：我们是制作大部分白雪公主绘画的团队。
And we'd sometimes take a whole day for a close up of Snow White.
有时我们会花一整天的时间来拍摄白雪公主的特写。
That's how intricate the drawing was.
可见这幅画是多么复杂。
It was so precise.
是如此精确。
It was like making watches, you know.
你知道，这就像制造手表。
It was just such fine detail.
这就是如此精细的细节。
You know, one little line'd throw the whole thing off.
你知道，一根小线就会把整个事情搞砸。
Narrator: : The production process did not change: key animators would draw the main characters in Snow White .
旁白：：制作流程没有改变：主要动画师会绘制《白雪公主》中的主要角色。
"In betweeners" would draw the movements between the key frames.
“In Betweeners”将绘制关键帧之间的运动。
The ink-and-paint artists would add color to the drawings and transfer them to the transparent sheets -- or cels -- to go to camera.
水墨艺术家会在图画上添加颜色，并将其转移到透明纸或赛璐珞上以进行相机拍摄。
At 24 frames per second and often multiple cels per frame, Snow White would require more than 200,000 separate drawings.
以每秒 24 帧且每帧通常有多个单元的速度，《白雪公主》将需要超过 200,000 张单独的绘图。
Eric Smoodin, Film Historian: : Making the film required an army of people.
埃里克·斯穆丁（Eric Smoodin），电影史学家：：制作这部电影需要一支军队。
And I'm not sure that Disney thought of all of them as talent.
我不确定迪士尼是否认为他们所有人都是人才。
There are real workers here who are doing the grunt work.
这里有真正的工人在做着繁重的工作。
Narrator: : The Disneys had already built a two-story addition at Hyperion, but it wasn't near enough.
旁白：：迪士尼公司已经在海伯利安建造了一座两层楼的附加建筑，但距离还不够近。
Roy was forced to rent bungalows and other buildings in the neighborhood, just to accommodate their staff, which grew to more than 600 people.
Roy 被迫租用附近的平房和其他建筑物，只是为了容纳他们的员工，员工人数已增至 600 多人。
Don Hahn, Animator: : Poor Roy Disney.
唐·哈恩，动画师：：可怜的罗伊·迪士尼。
You know, he's, during this time there's tremendous expansion, and ideas, and excitement by everybody.
你知道，在这段时间里，每个人都有巨大的扩张、想法和兴奋。
But Roy's the banker and he's the guy that has to keep it all together.
但罗伊是银行家，他是负责维持一切的人。
And, and there's weekly discussions about how to make payroll.
而且，每周都会讨论如何发放工资。
The feature was going over budget.
该功能超出了预算。
The bankers from Bank of America were there frequently.
美国银行的银行家经常在那里。
And Roy's job was to keep everybody calm and to keep it all together financially.
罗伊的工作就是让每个人保持冷静，并在经济上维持一切。
Narrator: : As the production dragged into its second and then its third year, Walt's demands began to look dangerous.
旁白：随着制作拖入第二年和第三年，沃尔特的要求开始显得危险。
He repeatedly pushed deadlines, and by the start of 1937, with the premiere set for that December, the studio was behind -- way behind.
他一再拖延最后期限，到 1937 年初，首映时间定于 12 月，制片厂却落后了——远远落后。
Ten months to the premiere date, and not a single animation cel had been shot on film.
距离首映还有十个月，还没有一部动画被拍摄成胶片。
But Walt insisted that Snow White could not be rushed, and could not be done on the cheap.
但沃尔特坚持认为白雪公主不能操之过急，也不能省钱。
Walt kept upping the ante, which meant Roy had to raise Walt's original budget number six times over.
沃尔特不断提高赌注，这意味着罗伊必须将沃尔特最初的预算数字提高六倍。
The trade papers were beginning to write stories about the delays; people were calling Snow White "Disney's Folly." Roy was worried they might be right.
商业报纸开始报道有关延误的报道。人们称白雪公主为“迪士尼的愚蠢”。罗伊担心他们可能是对的。
Ruthie Tompson, Ink and Paint Artist: : I was working the 12-hour deal, where you come in at eight and go home at eight.
Ruthie Tompson，墨水和绘画艺术家：：我当时的工作时间是 12 小时，八点钟上班，八点钟回家。
And we really were cleaning cels and patching cels, fixing mistakes and things like that.
我们确实在清理单元格、修补单元格、修复错误等等。
There were a lot.
有很多。
And the queen, the queen was -- she had the kind of paint that was kind of sticky.
女王，女王——她的油漆有点粘。
And so those things would come back from camera, and we'd have to clean them up and patch them and send them back to camera.
因此，这些东西会从相机返回，我们必须清理它们并修补它们，然后将它们发送回相机。
Don Lusk, Animator: : I worked my tail off.
Don Lusk，动画师：：我竭尽全力。
I was put in charge of the clean up and in-betweens.
我被安排负责清理工作和中间工作。
That's where it was lagging.
这就是它落后的地方。
We went in at seven instead of eight.
我们七点而不是八点进去。
And we went to dinner and we came back and usually worked till almost 10.
我们去吃晚饭，然后回来，通常工作到快十点。
Robert Givens, Animator: : The ink-and-paint gals were, you know -- some of them were losing their eyesight.
动画师罗伯特·吉文斯：：你知道，那些用墨水和颜料画画的女孩们——其中一些人正在失去视力。
It was a hell of a thing.
这是一件很糟糕的事情。
They were just slaves.
他们只是奴隶。
They were doing it, but they believed in this thing so much, they were going to drop dead on the job.
他们正在这样做，但他们太相信这件事了，以至于他们会在工作中死去。
Narrator: : The animators finished in early November, but the last cels weren't painted until November 27th.
旁白：：动画师在11月初就完成了，但最后的赛璐珞直到11月27日才绘制出来。
Rumors were flying around Hollywood that there would be no print of the film ready for the December 21st premiere.
好莱坞谣言四起，称该片 12 月 21 日首映的印刷品还没有准备好。
Newsreel (archival): : Blasé Hollywood, accustomed to gala openings, turns out for the most spectacular of them all: the world premiere of the million and a half dollar fairytale fantasy Snow White and the Seven Dwarfs .
新闻片（档案）：：习惯了盛大开幕式的布拉塞好莱坞，迎来了其中最壮观的一场：耗资一百万美元的童话奇幻片《白雪公主和七个小矮人》的全球首映。
Replicas from the first feature cartoon thrill thousands who turn out for a glimpse of lovely Marlene Dietrich with Doug Fairbanks Jr. and a parade of stars.
第一部动画片的复制品让成千上万的人兴奋不已，只为一睹可爱的玛琳·黛德丽、小道格·费尔班克斯和众多明星的风采。
Shirley Temple is just as enthralled as are the grownup stars and moviegoers with the seven fantastic dwarfs.
秀兰·邓波儿与成年明星和电影观众一样对七个神奇小矮人着迷。
Neal Gabler, Biographer: : Walt was in a state of high anxiety.
传记作者尼尔·加布勒：沃尔特处于高度焦虑状态。
He had no idea how the audience was going to respond.
他不知道观众会作何反应。
Reporter (archival audio): : Well Walt, I think you're due to do all the talking tonight.
记者（档案音频）： ：沃尔特，我认为今晚所有的谈话都由你负责。
Tell us a little bit about this picture will you?
请告诉我们一些关于这张照片的信息，好吗？
Walt Disney (archival audio): : Well, it's been lot of fun making it and we're very happy that it's being given this big premiere here tonight and all these people are turning out to take a look at it.
沃尔特·迪士尼（档案音频）：嗯，制作它非常有趣，我们很高兴今晚在这里举行大型首映，所有这些人都出来观看它。
And I hope they're not too disappointed.
我希望他们不会太失望。
Reporter (archival audio): : Well I'm sure they won't be, I've seen the picture Walt...
记者（档案音频）：：嗯，我确信他们不会，我看过沃尔特的照片......
Steven Watts, Historian: : He didn't know if it would really work.
Steven Watts，历史学家：：他不知道这是否真的有效。
And one part of him was almost agonizing over "Well, if people don't buy this, this will just fall flat, and then I will be done."
他的一部分几乎在为“好吧，如果人们不买这个，这个就会失败，然后我就完蛋了”而痛苦不已。
Narrator: : Audience members gasped at the opening shots of the Queen's castle.
旁白：：观众们在女王城堡的开场镜头中倒抽一口冷气。
Evil Queen, Snow White and The Seven Dwarves (archival): : Slave in the magic mirror.
邪恶女王、白雪公主和七个小矮人（档案）：：魔镜中的奴隶。
Come from the farthest space, through in from darkness I summon thee -- Speak!
从最远的太空而来，从黑暗中穿越而来——我召唤你——说话！
Narrator: : They howled in laughter at the antic dwarfs.
旁白：：他们对着滑稽的小矮人哈哈大笑。
Evil Queen, Snow White and The Seven Dwarves (archival): : The heart of a pig!
邪恶女王、白雪公主和七个小矮人（档案）：：猪心！
And I've been tricked.
而我却被骗了。
Narrator: : They hissed disapproval at the Evil Queen.
旁白：：他们对邪恶女王发出了不满的声音。
And still, Walt was anxious.
尽管如此，沃尔特还是很焦虑。
Narrator: : He sat gripping Lillian's hand for nearly 75 minutes, nervously anticipating the scene that would put the power of his personal vision to the ultimate test.
旁白：：他握着莉莲的手坐了近 75 分钟，紧张地期待着对他个人视力的力量进行终极考验的场景。
Evil Queen disguised as Old Woman, Snow White and The Seven Dwarves (archival): : [Cackling laughter] Now I'll be fairest in the land!
邪恶女王伪装成老妇人、白雪公主和七个小矮人（档案）：：[咯咯笑]现在我将成为这片土地上最公平的人！
Narrator: : When it arrived -- the apparent death of Snow White -- the theater was hushed.
旁白：：当白雪公主明显死亡的消息到来时，剧院鸦雀无声。
Neal Gabler, Biographer: : The audience started weeping.
传记作者尼尔·加布勒：：观众开始哭泣。
And that's when Walt knew.
就在那时，沃尔特知道了。
That's when they all knew.
那时他们都知道了。
The audience had suspended its disbelief so thoroughly, so believed in the reality of the situation and of the dwarves, that they were crying.
观众彻底放下了怀疑，相信了情况和矮人的现实，以至于他们哭了。
That was really the triumph of the film.
这确实是这部电影的胜利。
The Prince, Snow White and The Seven Dwarves (archival audio): : One song, only for you.
王子、白雪公主和七个小矮人（档案音频）：：一首歌，只为你而唱。
One heart, tenderly beating...
一颗心，温柔地跳动……
Ron Suskind, Writer: : Clark Gable and Carole Lombard are weeping.
罗恩·苏斯金德（Ron Suskind），编剧：克拉克·盖博和卡罗尔·隆巴德在哭泣。
They don't know what hit them.
他们不知道是什么击中了他们。
You know, what hit them is that they crossed a barrier, from the life they live to the internal world where myth lives in all of us, and Disney provides the passage.
你知道，打击他们的是他们跨越了一道障碍，从他们的生活到我们所有人的神话生活的内心世界，而迪士尼提供了通道。
And it ain't kid's stuff.
这不是小孩子的东西。
Narrator: : When the curtain came down the audience rose from their seats and broke into a thunderous ovation.
旁白： ： 当幕布落下时，观众们从座位上起立，爆发出雷鸣般的掌声。
"I could not help but feel," one rival movie producer gushed, "that I was in the midst of motion picture history."
“我情不自禁地感觉到，”一位竞争对手的电影制片人滔滔不绝地说，“我正处于电影历史之中。”
Richard Schickel, Writer: : I know the first movie I saw was Snow White and the Seven Dwarfs .
理查德·希克尔（Richard Schickel），作家：：我知道我看的第一部电影是《白雪公主和七个小矮人》。
Now, I didn't know anything but to be delighted with it.
现在，我除了感到高兴之外什么也不知道。
It was wonderful.
太棒了。
I mean, I still think it's wonderful.
我的意思是，我仍然认为这很棒。
Ruthie Tompson, Ink and Paint Artist: : I loved the queen.
Ruthie Tompson，墨水和绘画艺术家：：我喜欢女王。
She was so awful.
她太可怕了。
But she was just beautiful.
但她只是美丽而已。
Ruthie Tompson, Ink and Paint Artist: : She was so beautifully drawn and everything.
Ruthie Tompson，墨水和绘画艺术家：：她画得非常漂亮，一切都很漂亮。
Richard Schickel, Writer: : Kids had to be carried screaming out of Radio City Music Hall; they're too frightening for them.
理查德·席克尔 (Richard Schickel)，作家： 孩子们必须尖叫着被抬出无线电城音乐厅；他们对他们来说太可怕了。
That's an important aspect: Disney understood that kids could take more scariness than people thought they could take.
这是一个重要的方面：迪士尼知道孩子们能够承受的恐惧比人们想象的要多。
So they wet the pants and wet the seat in Radio City Music Hall.
于是他们弄湿了无线电城音乐厅的裤子和座位。
But they'd had an experience.
但他们有过一次经历。
You know?
你知道？
That what was important.
这才是重要的。
It was not just bland.
这不仅仅是平淡无奇。
It was serious stuff going on in their little heads.
他们的小脑袋里正在思考着一些严肃的事情。
Ron Suskind, Writer: : Think about what he does.
罗恩·苏斯金德（Ron Suskind），作家：想想他做了什么。
Well he's like, "Ha!
好吧，他就像，“哈！
These cartoons don't have to be just slapstick.
这些动画片不一定只是闹剧。
They can carry everything, all the biggest stuff.
他们可以携带一切，所有最大的东西。
They can carry ancient and powerful mythologies.
它们可以承载古老而强大的神话。
They can carry everything."
他们可以携带一切。”
Ron Suskind, Writer: : That was a huge leap.
罗恩·苏斯金德（Ron Suskind），编剧：这是一个巨大的飞跃。
And that's an artistic leap.
这是艺术上的飞跃。
He's creating a new art form.
他正在创造一种新的艺术形式。
Narrator: : Snow White and the Seven Dwarfs played at New York's Radio City Music Hall for five straight weeks at the beginning of 1938; no other film had ever run more than three weeks there.
旁白： 1938 年初，《白雪公主和七个小矮人》在纽约无线电城音乐厅连续演出五周；没有其他电影在那里上映超过三周。
National and international releases followed.
随后在国内和国际上发布。
Lines wrapped around small-town theaters in New England, the South, the Midwest, the Far West.
新英格兰、南部、中西部和远西部的小镇剧院都排起了长队。
The film was a box office smash in London, Paris, and Sydney.
这部电影在伦敦、巴黎和悉尼票房大卖。
It grossed $8 million in its first year -- the equivalent of over 100 million today, and more than any film before it.
它第一年的票房收入为 800 万美元，相当于今天的 1 亿多美元，比之前的任何电影都要多。
Roy paid off the studio's $2.3 million debt to Bank of America, while the film was still in its first run, and helped oversee an unprecedented merchandising campaign.
当影片仍在首映时，罗伊就偿还了工作室欠美国银行的 230 万美元债务，并帮助监督了一场史无前例的营销活动。
Eric Smoodin, Film Historian: : There are Snow White jars, and Snow White jelly, and Snow White scarves.
电影史学家埃里克·斯穆丁：：有白雪公主罐子、白雪公主果冻和白雪公主围巾。
There are Snow White shows going on at department stores.
百货公司正在上演白雪公主表演。
So the film and the space of commerce are completely one.
所以电影和商业空间是完全合一的。
It's a commercial triumph for Disney, not just because of the film itself, but because of the way that the merchandise is tied to it.
这对迪士尼来说是一次商业上的胜利，不仅因为电影本身，还因为与电影相关的商品。
Narrator: : Walt Disney was celebrated as a true American original -- a man capable of harnessing the power of technology and storytelling; a man adept at art and commerce.
旁白：沃尔特·迪士尼被誉为真正的美国原创人物——一个能够利用技术力量和讲故事的人；一个精通艺术和商业的人。
Harvard University gave him an honorary Master of Arts, and so did Yale, whose trustees called Disney "the creator of a new language of art."
哈佛大学授予他荣誉文学硕士学位，耶鲁大学也授予他荣誉文学硕士学位，耶鲁大学的受托人称迪士尼为“新艺术语言的创造者”。
Ron Suskind, Writer: : He's hailed in Paris.
罗恩·苏斯金德（Ron Suskind），编剧： ：他在巴黎受到欢迎。
He's hailed in New York.
他在纽约受到欢迎。
He's living a dream.
他正在梦想中生活。
And that's a moment where he starts to think very boldly.
从那时起，他开始大胆思考。
He almost is released from hesitations.
他几乎从犹豫中解脱出来。
He's like, "I am that guy that I dreamed of.
他就像是，“我就是我梦想的那个人。
I am him.
我就是他。
So now what do we do?"
那么现在我们该怎么办？”
Narrator: : Disney cultivated the look of the artist in public, but at home, he was just plain Dad.
旁白：：迪士尼在公共场合培养了艺术家的形象，但在家里，他只是一个普通的爸爸。
Walt made a point to drive his two young daughters to school every day, chased them around their house cackling like the Wicked Witch, and read them bedtime stories.
沃尔特每天都特意开车送两个年幼的女儿去上学，像邪恶女巫一样咯咯地笑着追着她们在房子里转，还给她们读睡前故事。
Neal Gabler, Biographer: : There's no question, he adored them.
尼尔·加布勒（Neal Gabler），传记作者：：毫无疑问，他很喜欢他们。
Absolutely adored them.
非常喜欢他们。
He was a man who had a lively sense of play that he'd never lost from the time he was a child.
他是一个从小就从未失去过的活泼的游戏意识。
Steven Watts, Historian: : He was very domestic, very nurturing in a way that usually in that day and age was associated more with Mother's role.
史蒂文·瓦茨（Steven Watts），历史学家：：他非常顾家，非常有教养，在那个时代通常更多地与母亲的角色联系在一起。
Lillian was a bit aloof, a bit reserved, a bit cool, even with her children, and Walt was just the opposite.
莉莲有点冷漠，有点矜持，有点冷静，即使对她的孩子来说也是如此，而沃尔特则恰恰相反。
He was overflowing with enthusiasm.
他满腔热情。
I think, in a way, he was reacting against his own childhood and against Elias, because Elias was so stern with him.
我认为，在某种程度上，他是在反对自己的童年和埃利亚斯，因为埃利亚斯对他非常严厉。
Disney often said, "I want to spoil my children terribly.
迪士尼经常说：“我非常想宠坏我的孩子们。
I just want to spoil them."
我只是想宠坏他们。”
Narrator: : He had had only sporadic contact with his own parents since his move to California.
旁白：：自从搬到加州后，他与自己的父母只有零星的联系。
But the Disney studio's new financial success afforded Walt the chance to draw them closer.
但迪士尼工作室新的财务成功为沃尔特提供了拉近他们距离的机会。
Walt and Roy moved Elias and Flora to Los Angeles, and, as a 50th wedding anniversary present, the brothers bought them a house.
沃尔特和罗伊将埃利亚斯和弗洛拉搬到了洛杉矶，作为结婚 50 周年纪念礼物，兄弟俩给他们买了一栋房子。
In the middle of the Snow White frenzy they also threw a golden wedding anniversary party, which they deemed worthy of preserving for history.
在白雪公主狂欢期间，他们还举办了一场金婚周年纪念派对，他们认为这场派对值得保留为历史。
Walt Disney (archival audio): : Well, here it is: 1937.
沃尔特·迪士尼（档案音频）：：嗯，这是：1937 年。
And you folks are almost ready to have your, celebrate your 50th wedding anniversary.
你们已经准备好庆祝你们的 50 周年结婚纪念日了。
Walt Disney (archival audio): : Well, Dad likes to celebrate.
沃尔特·迪士尼（档案音频）：：嗯，爸爸喜欢庆祝。
He's always enjoyed a good time.
他总是享受着美好的时光。
Flora Disney (archival audio): : We've been celebrating for 50 years.
Flora Disney（档案音频）：：我们已经庆祝 50 周年了。
Gettin' tired of it.
厌倦了。
Walt Disney (archival audio): : What about you Dad?
沃尔特·迪士尼（档案音频）：：爸爸，你呢？
Don't you want to make a little whoopee on your Golden Wedding anniversary?
您不想在金婚纪念日庆祝一下吗？
Elias Disney (archival audio): : Oh, we don't want to go to any extremes with it a'tall.
Elias Disney（档案音频）：哦，我们不想走极端。
Walt Disney (archival audio): : Well, I expect you, I hoped you wouldn't go to any extremes if you're whoopeeing it up.
沃尔特·迪士尼（档案音频）：嗯，我期待着你，我希望你在欢呼雀跃时不要走极端。
Narrator: : Walt sometimes seemed compelled to talk about the old days; even as his fame grew, his family's early struggle remained a touchstone.
旁白：沃尔特有时似乎不得不谈论过去的日子；即使他的名气越来越大，他的家庭早期的挣扎仍然是一个试金石。
He held fast to the idea of himself as a man formed in the crucible of want and deprivation in the great forgotten middle of the country.
他坚信自己是一个在这个国家被遗忘的伟大中部地区的匮乏和匮乏的严酷考验中成长起来的人。
Carmenita Higginbotham, Art Historian: : He feels it very important to identify and to make note of his Midwestern background, and to propagate that story.
Carmenita Higginbotham，艺术史学家：：他认为识别并记录他的中西部背景并传播这个故事非常重要。
He understood the value of labor, and that that is not something he learned about from somebody else, rather it's naturally who he is.
他了解劳动的价值，这不是他从别人那里学到的，而是他自然而然的。
Narrator: : Walt Disney had been a player in the movie business for more than 15 years, and a celebrity for nearly 10, but the acclaimed filmmaker still did not think of himself as a Hollywood insider.
旁白： 沃尔特·迪士尼 (Walt Disney) 涉足电影界已超过 15 年，成为名人已近 10 年，但这位广受赞誉的电影制片人仍然不认为自己是好莱坞圈内人。
He complained that other major film producers refused to acknowledge animation as serious cinema.
他抱怨其他主要电影制片人拒绝承认动画是严肃的电影。
And he wasn't wrong.
他并没有错。
When the Academy of Motion Picture Arts & Sciences announced the 10 nominees for the Best Picture of 1938, Snow White and the Seven Dwarfs was not on the list.
当美国电影艺术与科学学院宣布 1938 年最佳影片的 10 部提名时，《白雪公主和七个小矮人》并未出现在名单中。
Instead, Disney was given a special Oscar for his pioneering work in feature-length cartoons.
相反，迪士尼因其在长篇动画片方面的开创性工作而获得了特别奥斯卡奖。
Shirley Temple (archival): : I'm sure the boys and girls in the whole world are going to be very happy when they find out the daddy of Snow White and the Seven Dwarfs, Mickey Mouse, Ferdinand, and all the others is going to get this beautiful statue.
秀兰·邓波儿（档案）：我确信，当全世界的男孩和女孩发现白雪公主和七个小矮人、米老鼠、费迪南德和其他所有人的爸爸将获得这座美丽的雕像时，他们都会非常高兴。
Oh, isn't it bright and shiny?
哦，是不是又亮又亮呢？
Carmenita Higginbotham, Art Historian: : He got the, sort of the honorable mention, which is...
Carmenita Higginbotham，艺术史学家：：他获得了某种荣誉奖，这是......
crap.
废话。
He doesn't want that.
他不想要这样。
He has created something absolutely magnificent.
他创造了绝对宏伟的东西。
He knows it's magnificent.
他知道这很壮观。
Audiences have told him it's magnificent.
观众告诉他这太棒了。
He believed in this so much, he put himself personally on the line for his films, and his products, and for animation, and the furthering of animation.
他非常相信这一点，他亲自为他的电影、他的产品、动画以及动画的进一步发展而冒险。
And Hollywood just didn't seem ready to view animation as art or as filmmaking.
好莱坞似乎还没有准备好将动画视为艺术或电影制作。
It had to have smarted.
它一定很聪明。
Narrator: : Disney had dreams of producing a new feature-length animated film every six months -- and almost all from source material that played to his strengths: fairy tales, folktales, or popular novels already familiar to his audience.
旁白：迪士尼梦想每六个月制作一部新的长篇动画电影，而且几乎所有素材都来自发挥其优势的素材：童话故事、民间故事或观众已经熟悉的流行小说。
His two projects following Snow White were coming-of-age stories: first up was Bambi , based on a novel about a young deer becoming a stag; and then Pinocchio , a popular late 19th century Italian folktale about a wooden puppet who wants to be a real boy.
他继《白雪公主》之后的两个作品都是关于成长的故事：第一个是《小鹿斑比》，改编自一本关于小鹿变成雄鹿的小说；第二个是《小鹿斑比》，改编自一部关于小鹿变成雄鹿的小说；第二部是《小鹿斑比》，改编自一本关于小鹿变成雄鹿的小说；第二部是《小鹿斑比》，改编自一部关于小鹿变成雄鹿的小说；第二部是《小鹿斑比》。然后是《匹诺曹》，这是一个流行于 19 世纪末的意大利民间故事，讲述了一个木偶想要成为一个真正的男孩的故事。
Disney hit snags right away on Bambi , and began to worry the story was too complicated and needed more time in development.
迪士尼在《小鹿斑比》上立即遇到了障碍，并开始担心这个故事太复杂，需要更多的时间来开发。
So he moved Pinocchio to the front of the production line -- and hit more snags.
因此，他将匹诺曹移到了生产线的前端，并遇到了更多的障碍。
Neal Gabler, Biographer: : They struggled mightily with the story of Pinocchio.
传记作者尼尔·加布勒：：他们为匹诺曹的故事付出了巨大的努力。
As Walt himself said, he's not a very nice puppet in the original story.
正如沃尔特本人所说，他在原著故事中并不是一个很好的木偶。
He's kind of a wiseacre.
他是个聪明人。
So there was something they had to tackle immediately, which is: How do you make this puppet into someone likable?
所以他们必须立即解决一个问题，那就是：如何把这个木偶变成一个讨人喜欢的人？
Narrator: : Disney was still puzzling out the Pinocchio story in the fall of 1938 when the phone call came.
旁白： 1938 年秋天，当电话打来时，迪士尼仍在思考匹诺曹的故事。
His parents had suffered carbon monoxide poisoning caused by a malfunction of the heating system at the house Walt and Roy had bought for them.
他的父母因沃尔特和罗伊为他们购买的房屋供暖系统故障而导致一氧化碳中毒。
Elias had survived; Flora had not.
埃利亚斯活了下来；弗洛拉没有。
Walt went to her funeral, and then he went back to work.
沃尔特去参加了她的葬礼，然后又回去工作了。
He never talked of his mother's death again.
他再也没有提起过他母亲的死。
Sarah Nilsen, Film Historian: : It was something he dealt with, within himself as a private matter.
莎拉·尼尔森，电影史学家：：这是他自己处理的事情，是他自己的私事。
Even with his wife I don't think that relationship he shared very much.
即使与他的妻子，我也不认为他有太多共同的关系。
His emotions were internalized.
他的情绪被内化了。
And that's why cinema I think offered this way to emote in a way that he couldn't emote in his own private life.
这就是为什么我认为电影提供了这种方式来表达他在自己的私人生活中无法表达的方式。
Neal Gabler, Biographer: : Walt Disney once exploded during a story session and he pounded on the table.
尼尔·加布勒（Neal Gabler），传记作者：沃尔特·迪士尼（Walt Disney）有一次在讲故事时爆发了，他猛击桌子。
And he said, "We're not making cartoons here!
他说：“我们不是在这里制作动画片！
We're not making cartoons." Walt Disney had made this separation between Mickey Mouse and some of the early Silly Symphonies -- they're cartoons.
我们不是在制作动画片。”沃尔特·迪士尼将米老鼠和一些早期的愚蠢交响曲区分开来——它们是卡通片。
But now we're not making cartoons.
但现在我们不制作动画片了。
We're making art.
我们正在创作艺术。
And art has a higher standard.
而艺术则有更高的标准。
And the standard is the emotional response that we get from people.
标准是我们从人们那里得到的情绪反应。
Can you make them feel deeply?
你能让他们感触很深吗？
Ron Suskind, Writer: : Art doesn't work unless it gets to the big stuff.
罗恩·苏斯金德（Ron Suskind），作家：：艺术只有触及大的东西才有效。
Call it what you will.
你想怎么称呼它就怎么称呼它。
Entertainment doesn't work unless it gets at the core, the stuff that we really, really wrestle with, make you laugh, make you cry, make you sing, make you sigh.
娱乐只有触及核心，才能发挥作用，那些我们真正、真正与之搏斗的东西，让你笑、让你哭、让你唱歌、让你叹息。
But you got to get at it.
但你必须抓住它。
Narrator: : Disney wasn't thinking small on Pinocchio .
旁白：：迪士尼对匹诺曹并没有小看。
Snow White had proved that his animated films could tackle the sweep of the human condition, with all the light and shadow of real life.
白雪公主已经证明，他的动画电影可以用现实生活中的所有光影来应对人类的生存状况。
Now, he went deep inside himself for inspiration and emerged with a magical story elixir that became the Disney trademark -- outsiders struggling for acceptance, coming-of-age heroes bucking authority, temptation, loss, redemption, and survival.
现在，他深入自己的内心寻找灵感，并创造出一种神奇的故事灵丹妙药，成为迪士尼的商标——局外人努力争取接受，成年英雄反抗权威、诱惑、失落、救赎和生存。
Don Hahn, Animator: : So now Walt's wading through the story throwing things out left and right and saying, "What's the essence of it?
唐·哈恩（Don Hahn），动画师：现在沃尔特正在费力地浏览这个故事，左右扔东西并说：“它的本质是什么？
What's this story about?
这个故事是关于什么的？
Who's it about?
是关于谁的？
Why do I care?
我为什么关心？
Why do I want to watch this?"
我为什么想看这个？”
Douglas Brode, Film Historian: : Pinocchio becomes about what it means to be human, about how you have to achieve humanity.
道格拉斯·布罗德（Douglas Brode），电影史学家：《匹诺曹》讲述了作为人类的意义，以及如何实现人性。
You have to earn it.
你必须赢得它。
Don Hahn, Animator: : They take huge liberties.
Don Hahn，动画师：：他们有很大的自由。
Walt Disney doesn't care.
华特迪士尼不在乎。
He says, you know, "We're taking the title, we're taking the puppet thing, and we're going to make that into our story."
他说，你知道，“我们正在取得标题，我们正在取得木偶的东西，我们将把它纳入我们的故事中。”
Narrator: : Difficult as they were and engaging as they were, Pinocchio and Bambi did not capture Walt's undivided attention.
旁白：：尽管匹诺曹和斑比很困难，也很吸引人，但他们并没有引起沃尔特的全神贯注。
There was an enticing new experiment going on right down the hall.
大厅里正在进行一项诱人的新实验。
The project had begun as a cartoon short based on a symphony titled "The Sorcerer's Apprentice," starring Mickey Mouse, with the backing of an orchestra conducted by the celebrated Leopold Stokowski.
该项目最初是一部基于交响乐《魔法师的学徒》的卡通短片，由米老鼠主演，并得到了著名的利奥波德·斯托科夫斯基指挥的管弦乐队的支持。
Disney was so taken with the first results that he decided to expand it into a feature-length film -- Fantasia .
迪士尼对第一批成果非常着迷，决定将其扩展为一部长篇电影——《幻想曲》。
He and Stokowski selected eight separate classical symphonies, and Walt and his team began thinking about imagery to match.
他和斯托科夫斯基选择了八部独立的古典交响曲，沃尔特和他的团队开始考虑与之匹配的图像。
The Disney Studio was crawling with musicians, dancers, even famous scientists like the astronomer Edwin Hubble.
迪士尼工作室挤满了音乐家、舞蹈家，甚至还有像天文学家埃德温·哈勃这样的著名科学家。
Don Hahn, Animator: : So here's Stravinsky, and George Balanchine comes by the studio, "Well, let's choreograph some dancing for us." So these experts are coming and going, and there's a ballet company in the next room dancing.
唐·哈恩，动画师：：斯特拉文斯基和乔治·巴兰钦来到工作室，“好吧，让我们为我们编一些舞蹈。”所以这些专家来来去去，隔壁房间里有一个芭蕾舞团在跳舞。
And here's Hubble talking about theories of deep space, and where the cosmos came from.
哈勃在这里谈论深空理论以及宇宙的来源。
And there's a dinosaur expert.
还有一位恐龙专家。
And it is this cultural kind of petri dish of people together working and collaborating creating Fantasia .
正是这种文化的培养皿，人们共同努力、合作创造了《幻想曲》。
And he loves it because this is a huge fun sandbox.
他喜欢它，因为这是一个巨大有趣的沙盒。
Neal Gabler, Biographer: : Well, he's dealt with realism and realistic emotions, but now he's trying to get to emotion in a different way, circumventing realism.
传记作者尼尔·加布勒：嗯，他处理的是现实主义和现实情感，但现在他试图以不同的方式来表达情感，绕过现实主义。
This is absolutely alien to the Disney process, to try and see if you can reach emotion directly through abstraction.
这与迪士尼的流程完全不同，尝试看看是否可以通过抽象直接达到情感。
Ron Suskind, Writer: : He's saying, "I want to try what heroes of art do.
罗恩·苏斯金德（Ron Suskind），作家：：他说，“我想尝试艺术英雄所做的事情。
You know, I want the great artists of the time to join in here.
你知道，我希望当时伟大的艺术家能够加入进来。
You know, I want to create art that lasts centuries."
你知道，我想创造能够流传几个世纪的艺术。”
Narrator: : The Disney studio ran to the rhythms of Walt's bursting energy, which appeared to be spilling beyond rational boundaries.
旁白：迪士尼工作室按照沃尔特爆发能量的节奏运转，这种能量似乎超出了理性的界限。
The boss had three major productions spinning simultaneously and had nearly doubled the number of full-time employees.
老板同时进行三项主要生产，并将全职员工数量增加了近一倍。
The Disneys were in dire need of space to house their thousand-plus staff, and another addition at Hyperion was not going to cut it.
迪士尼公司迫切需要空间来容纳数千名员工，而海伯利安的另一处扩建也无法满足这一需求。
Without consulting with Roy, who was in Europe at the time, Walt selected a 51-acre building lot, empty but for a polo field, on the other side of the Hollywood Hills, in Burbank.
沃尔特在没有与当时身在欧洲的罗伊协商的情况下，在好莱坞山的另一边伯班克选择了一块 51 英亩的建筑场地，该场地空无一人，但用于建设马球场。
Then he went to work making his dream studio.
然后他开始制作他梦想的工作室。
Neal Gabler, Biographer: : It was designed for absolute efficiency, but also to engender this wonderful sense of community.
传记作者 Neal Gabler：：它的设计是为了绝对的效率，同时也是为了产生这种美妙的社区意识。
In fact, there was one point where he said, "You know what'd be great, is if we build an apartment complex here on the studio lot, so no one ever has to leave." It's so that his employees could become part of this very insular community where they would all work together in this common mission to make these great animations.
事实上，有一次他说：“你知道，如果我们在工作室场地上建造一栋公寓大楼，那就太好了，这样就没有人需要离开了。”这样他的员工就可以成为这个非常孤立的社区的一部分，他们将在这个共同的使命中共同努力，制作这些伟大的动画。
And that's what this new studio was really all about.
这就是这个新工作室的真正意义所在。
It was really all about creating a perfect place to create perfect films.
这实际上是为了创造一个完美的场所来创作完美的电影。
Narrator: : The day after Christmas, 1939, most of the Disney staff began the move from Hyperion to Burbank.
旁白： 1939 年圣诞节后的第二天，迪士尼的大部分员工开始从海伯利安搬到伯班克。
The heart of the studio campus was the three-story animation building, with Walt's office on the top floor.
工作室园区的中心是三层动画大楼，沃尔特的办公室位于顶层。
Each animator had a single big airy sunlit room to himself, with an oversized work table, a stylish area rug, an easy chair to recline in, and drapes.
Each animator had a single big airy sunlit room to himself, with an oversized work table, a stylish area rug, an easy chair to recline in, and drapes.
The entire facility was air-conditioned.
整个设施都装有空调。
Landscaped pathways led to a theater, a restaurant, a soda fountain.
风景优美的小路通向剧院、餐厅和冷饮柜。
Don Lusk, Animator: : It was wonderful.
Don Lusk，动画师：：太棒了。
We had things that we'd never had before.
我们拥有了以前从未拥有过的东西。
If you wanted a milkshake, you'd call the little coffee shop right in the middle of the place.
如果你想要一杯奶昔，你可以打电话给位于中心的小咖啡店。
And then they had runners that would run these things into us, a sandwich, whatever we wanted.
然后他们有跑步者将这些东西跑到我们身上，三明治，任何我们想要的东西。
It was just heaven.
It was just heaven.
Tom Sito, Animator: : It had a cafeteria.
Tom Sito，动画师：：它有一个自助餐厅。
It had a gymnasium with an ex-member of the Swedish Olympic team as a personal trainer.
它有一个健身房，有一位前瑞典奥运队队员担任私人教练。
The studio had its own gas station.
工作室有自己的加油站。
You know, you could get, you could get your car repaired, you know, while you're at work.
你知道，你可以在工作时修车。
This is amazing.
这太棒了。
Jiminy Cricket, Pinocchio (archival): : [singing] Like a boat out of the blue, fate steps in and sees you through…
Jiminy Cricket，匹诺曹（档案）：：[唱歌]就像一艘突然出现的船，命运介入并帮助你渡过难关……
Narrator: : By the time the studio was ready to launch Pinocchio in New York City in February of 1940, Walt Disney was selling hard.
旁白： 1940 年 2 月，当工作室准备在纽约推出《匹诺曹》时，华特迪士尼的销售情况非常好。
Narrator: : He was singing the praises of Jiminy Cricket -- Lord High Keeper of the Knowledge of Right and Wrong.
旁白：：他正在歌颂吉米尼·蟋蟀——善恶知识的最高守护者。
Jiminy Cricket, Pinocchio (archival): : [singing] Give a little whistle, yoo-hoo!
吉米尼·蟋蟀、匹诺曹（档案）：：[唱歌]吹一下口哨，哟呼！
Give a little whistle, woo-hoo!
吹个小口哨，呜呼！
And always let your conscience be your guide.
并始终让你的良心成为你的指南。
Pinocchio, Pinocchio (archival): : And always let your conscience be your guide!
匹诺曹，匹诺曹（档案）：：永远让你的良心引导你！
Narrator: : He was also talking up the studio's breakthroughs in camera technology and special effects.
旁白： ：他还谈到了工作室在摄影技术和特效方面的突破。
Narrator: : "For the first time in the field of animation," Disney proclaimed, "audiences will see, in Pinocchio underwater effects that look like super-special marine photography."
Narrator: : "For the first time in the field of animation," Disney proclaimed, "audiences will see, in Pinocchio underwater effects that look like super-special marine photography."
Pinocchio, Pinocchio (archival): : Can you tell me where we can find Monstro?
匹诺曹，匹诺曹（档案）：：你能告诉我在哪里可以找到怪物吗？
Gee!
哎呀！
They're scared!
他们害怕了！
Tom Sito, Animator: : You really have to stop yourself and say, "This was all blank paper.
Tom Sito，动画师：：你真的必须停下来对自己说：“这都是白纸。
This all began as blank paper.
这一切都是从一张白纸开始的。
It doesn't exist." You know, we believe it's water, and we believe those characters are real, and that's the summit of the animator's art.
它不存在。”你知道，我们相信那是水，我们相信这些角色是真实的，这就是动画师艺术的顶峰。
That's the pinnacle of what we call personality animation, which is creating a completely artificial world that we accept.
这就是我们所说的个性动画的顶峰，它正在创造一个我们接受的完全人造的世界。
Stromboli, Pinocchio (archival): : Mmmm.
斯特龙博利，匹诺曹（档案）：：嗯。
You will make lots of money for me!
你将为我赚很多钱！
Richard Schickel, Writer: : Pinocchio has richness and dimensions that other animated cartoons don't have.
理查德·席克尔（Richard Schickel），编剧： ：《匹诺曹》具有其他动画片所没有的丰富性和维度。
Stromboli, Pinocchio (archival): : And when you are growing too old, you will make good firewood!
斯特龙博利，匹诺曹（档案）：：当你变得太老时，你会成为好柴火！
Richard Schickel, Writer: : I mean, he's swallowed by a whale, for Christ's sake.
理查德·希克尔（Richard Schickel），编剧：：我的意思是，天啊，他被鲸鱼吞掉了。
He is in peril throughout the movie.
在整部电影中他都处于危险之中。
Jiminy Cricket, Pinocchio (archival): : Hey!
Jiminy Cricket、匹诺曹（档案）： ：嘿！
Blubber mouth!
Blubber mouth!
Open up, I got to get in there!
开门，我得进去！
Richard Schickel, Writer: : And at the same time there's Jiminy Cricket, you know, who's delightful and charming and takes some of the sting off of this movie.
理查德·希克尔（Richard Schickel），编剧：：同时还有吉米尼·蟋蟀，你知道，他令人愉快且迷人，消除了这部电影的一些刺痛。
But that's a pretty dark movie.
但这是一部相当黑暗的电影。
Carmenita Higginbotham, Art Historian: : Pinocchio is just a wooden boy who's trying to be human.
Carmenita Higginbotham，艺术史学家：：匹诺曹只是一个试图成为人类的木头男孩。
One would think that that means he can make mistakes, that he would be allowed to have the faults of being a boy.
人们会认为这意味着他可以犯错误，他可以被允许犯下作为一个男孩的错误。
Carmenita Higginbotham, Art Historian: : And instead any indiscretion is met with the possible death of his adopted father or the transformation into a donkey.
Carmenita Higginbotham, Art Historian: : And instead any indiscretion is met with the possible death of his adopted father or the transformation into a donkey.
The stakes are so very high.
赌注非常高。
Ron Suskind, Writer: : Pinocchio is seeking a home.
罗恩·苏斯金德（Ron Suskind），编剧：：匹诺曹正在寻找一个家。
He's seeking identity.
He's seeking identity.
He's seeking place.
He's seeking place.
He wants to be real.
He wants to be real.
Blue Fairy, Pinocchio (archival): : Prove yourself brave, truthful and unselfish, and someday you will be a real boy.
蓝精灵、匹诺曹（档案）：：证明自己勇敢、诚实和无私，有一天你会成为一个真正的男孩。
Ron Suskind, Writer: : That's what the goal is.
Ron Suskind，编剧：：这就是我们的目标。
I want to feel my life most fully.
我想最充分地感受我的生活。
And then once I feel my life I will have a chance to feel the big truths, the things that give us sustenance.
一旦我感受到我的生活，我将有机会感受到伟大的真理，那些给予我们生存的东西。
Pinocchio, Pinocchio (archival): : I'm alive, see!
匹诺曹，匹诺曹（档案）：：我还活着，瞧！
And-and I'm - I'm - I'm real.
And-and I'm - I'm - I'm real.
I'm a real boy!
I'm a real boy!
Geppetto, Pinocchio (archival): : You're alive!
Geppetto, Pinocchio (archival): : You're alive!
And-and you are a real boy!
而且——而且你是一个真正的男孩！
Geppetto, Pinocchio (archival): : A real live boy!
杰佩托，匹诺曹（档案）：：一个真正的活生生的男孩！
This calls for a celebration!
这需要庆祝一下！
Narrator: : Audiences across the country walked away from Pinocchio emotionally drained, and enormously satisfied.
旁白：：全国各地的观众在看完《匹诺曹》后，心情疲惫，但又无比满足。
The critics raved.
The critics raved.
"[Walt Disney] has created something...
“[华特迪士尼]创造了一些东西......
that will be counted in our favor -- in all our favor -- when this generation is being appraised by the generations of the future," the New York Times 's movie critic wrote.
当这一代人受到未来几代人的评价时，这将被视为对我们有利——对我们所有人有利，”《纽约时报》的影评人写道。
Jiminy Cricket, Pinocchio (archival): : Well!
Jiminy Cricket, Pinocchio (archival): : Well!
This is practically where I came in.
这实际上就是我进来的地方。
Narrator: : "For it will be said that no generation which produced a Snow White and a Pinocchio could have been altogether bad."
旁白：“据说，没有哪一代产生了白雪公主和匹诺曹的一代是完全坏的。”
The downside of Pinocchio was apparent from the jump too.
匹诺曹的缺点从跳跃中也很明显。
Walt's insistence on innovation had pushed production costs to nearly twice that of Snow White , and the picture was not going to earn back the investment.
沃尔特对创新的坚持使得《白雪公主》的制作成本几乎是《白雪公主》的两倍，而且这部影片也无法收回投资。
Ticket sales in the United States were slow; in Europe now at war, they were moribund.
Ticket sales in the United States were slow;在现在处于战争状态的欧洲，他们已经奄奄一息。
The Disneys had burned through more than $2 million of the net profits from Snow White , while borrowing heavily from Bank of America to fund the dream studio in Burbank.
迪士尼公司已经烧掉了《白雪公主》超过 200 万美元的净利润，同时还从美国银行大量借款，为伯班克的梦想工作室提供资金。
Neal Gabler, Biographer: : Walt Disney is kind of under the gun.
尼尔·加布勒（Neal Gabler），传记作者：沃尔特·迪士尼（Walt Disney）正处于枪口之下。
The costs of Fantasia and Pinocchio , and even Bambi in its early stages, are enormous.
《幻想曲》和《匹诺曹》，甚至早期的《小鹿斑比》的成本都是巨大的。
And the war has cut off the European market.
而战争又切断了欧洲市场。
So Walt Disney has lost a giant market, and he is worrying about how he can finance all of these films under his new project to make feature films constantly, one every six months or so.
因此，沃尔特·迪士尼失去了一个巨大的市场，他正在担心如何在他的新项目下为所有这些电影提供资金，以不断制作故事片，大约每六个月左右制作一部。
Narrator: : Roy Disney had a plan: they would go public and issue shares in the company.
旁白：罗伊·迪士尼有一个计划：他们将上市并发行公司股票。
His kid brother wasn't happy at the thought of shareholders sticking their noses in his creative process, but he saw little choice.
一想到股东们对他的创作过程嗤之以鼻，他的弟弟就很不高兴，但他别无选择。
In April of 1940, as the last of the staff made the transition to the Burbank Studio, Walt Disney Productions issued 155,000 shares of preferred stock, netting the company nearly $4 million.
1940 年 4 月，随着最后一批员工转入伯班克工作室，华特迪士尼制作公司发行了 155,000 股优先股，为公司净赚近 400 万美元。
Roy and Walt had both signed seven-year contracts as part of the deal.
Roy and Walt had both signed seven-year contracts as part of the deal.
Roy was guaranteed a salary of $1,000 a week, and Walt $2,000.
罗伊的周薪为 1,000 美元，沃尔特的周薪为 2,000 美元。
The company reassured investors by taking out a $1.5 million life insurance policy on its key asset: Walt Disney.
该公司为其关键资产华特迪士尼购买了价值 150 万美元的人寿保险，以安抚投资者。
Steven Watts, Historian: : Fantasia opens with the Bach Fugue and Toccata in D minor , but it is pure abstraction, no characters, no nothing recognizable in the natural world, which gets the movie off in a very interesting vein.
历史学家史蒂文·瓦茨：《幻想曲》以巴赫赋格和D小调托卡塔开场，但它是纯粹的抽象，没有人物，没有自然世界中任何可识别的东西，这让这部电影以一种非常有趣的方式展开。
Carmenita Higginbotham, Art Historian: : Fantasia is wildly ambitious.
Carmenita Higginbotham，艺术史学家：《幻想曲》雄心勃勃。
You can feel it in every scene but it's very uneven.
你可以在每个场景中感受到它，但非常不均匀。
Steven Watts, Historian: : When the movie worked, it's spectacular.
Steven Watts, Historian: : When the movie worked, it's spectacular.
When it didn't work, it's sort of dumb.
When it didn't work, it's sort of dumb.
The critical reaction was extremely divided.
批评界的反应极为分歧。
Some people thought Disney had pulled off this alliance of visual art and music, and created something new and compelling.
Some people thought Disney had pulled off this alliance of visual art and music, and created something new and compelling.
Other critics thought that it was a disaster.
Other critics thought that it was a disaster.
And they slammed the movie very, very hard for dragging classical music traditions down into the dust.
And they slammed the movie very, very hard for dragging classical music traditions down into the dust.
Neal Gabler, Biographer: : Walt Disney had made his reputation in the intellectual community as being unpretentious.
Neal Gabler, Biographer: : Walt Disney had made his reputation in the intellectual community as being unpretentious.
And when he makes Fantasia , guess what?
当他制作《幻想曲》时，你猜怎么着？
He's pretentious.
He's pretentious.
Carmenita Higginbotham, Art Historian: : Fantasia raises a number of questions as to if Walt is stepping beyond himself, if he's not appreciating his limits.
卡梅尼塔·希金波坦姆（Carmenita Higginbotham），艺术史学家：：《幻想曲》提出了一系列问题：沃尔特是否正在超越自己，是否没有认识到自己的极限。
And Walt will take this personally.
And Walt will take this personally.
Steven Watts, Historian: : He didn't handle criticism very well, ever.
Steven Watts, Historian: : He didn't handle criticism very well, ever.
And the criticism over Fantasia , I think, really rankled.
我认为对《幻想曲》的批评确实令人恼火。
And what it did was to encourage a kind of anti-intellectualism that was always there with Disney, but I think increasingly he drifts in the direction of: "These are eggheads.
它的作用是鼓励一种迪士尼一直存在的反智主义，但我认为他越来越倾向于：“这些都是书呆子。
They don't know anything about ordinary people, and to hell with them."
They don't know anything about ordinary people, and to hell with them."
Narrator: : Fantasia 's financial losses were far greater than Pinocchio 's, largely because so few theaters had the expensive new sound system Disney required to show his film-symphony.
旁白： 幻想曲的经济损失远远大于匹诺曹，主要是因为很少有剧院拥有迪士尼放映其电影交响乐所需的昂贵的新音响系统。
The deficits left the company unable to pay its guaranteed quarterly dividend to preferred shareholders.
The deficits left the company unable to pay its guaranteed quarterly dividend to preferred shareholders.
And the expensive new studio was already starting to feel more like a dropped anchor than a sail spread wide to catch the creative winds.
And the expensive new studio was already starting to feel more like a dropped anchor than a sail spread wide to catch the creative winds.
Steven Watts, Historian: : The new Burbank studio was a kind of a case study in "be careful what you ask for." It was so nice that it was almost sterile.
史蒂文·瓦茨（Steven Watts），历史学家：：新的伯班克工作室是“小心你的要求”的案例研究。它是如此美好，几乎是无菌的。
It was all rationalized.
It was all rationalized.
It was all organized.
It was all organized.
And something, the quality of the creative experience, was almost designed out of the operation.
And something, the quality of the creative experience, was almost designed out of the operation.
Narrator: : There was something unmistakably mechanical at the heart of Walt's workplace utopia.
Narrator: : There was something unmistakably mechanical at the heart of Walt's workplace utopia.
People were segregated by task, as at an industrial plant.
People were segregated by task, as at an industrial plant.
Company hierarchy was more rigid, more obvious, and more carefully policed by Disney administrators.
公司的等级制度更加严格、更加明显，并且受到迪士尼管理者的更加仔细的监管。
The tonier perks accrued to the highest links of the corporate pay-chain.
The tonier perks accrued to the highest links of the corporate pay-chain.
Membership in the Penthouse Club, with its gymnasium, steam room and restaurant, was reserved for top writers and animators -- all men still.
Membership in the Penthouse Club, with its gymnasium, steam room and restaurant, was reserved for top writers and animators -- all men still.
So were office niceties like area rugs, drapes, easy chairs and armoires.
So were office niceties like area rugs, drapes, easy chairs and armoires.
When animator Don Lusk started doing friends a favor by picking up the slack on lower-level jobs like clean-up and in-between, somebody above took note.
当动画师唐·拉斯克（Don Lusk）开始帮朋友们做一些低级工作（例如清理工作和中间工作）时，上面的人注意到了。
Don Lusk, Animator: : I came into the room on a Monday morning and all that was in there was a desk.
Don Lusk, Animator: : I came into the room on a Monday morning and all that was in there was a desk.
The rug was gone.
The rug was gone.
The coat closet was gone.
The coat closet was gone.
My easy, foldout chair was gone.
My easy, foldout chair was gone.
Everything was gone excepting my desk and a chair.
Everything was gone excepting my desk and a chair.
I called up and I said, "What the hell is going on?" And, they said, well, I'm not animating so you don't get a rug on your floor.
I called up and I said, "What the hell is going on?"而且，他们说，好吧，我不制作动画，这样你就不会在地板上留下地毯。
Robert Givens, Animator: : Yeah, I missed the old Hyperion place.
罗伯特·吉文斯，动画师：：是的，我怀念海伯利安的老地方。
It was beginning to feel like corporate America, you know?
它开始感觉像美国企业，你知道吗？
It was just getting too big and losing the family touch.
它变得太大并且失去了家庭联系。
Neal Gabler, Biographer: : The studio had grown so rapidly that there were all of these folks in the animation process: you know, the assistant animators, the in-betweeners.
尼尔·加布勒（Neal Gabler），传记作者：工作室发展得如此之快，以致于动画制作过程中涉及到所有这些人：你知道，助理动画师，中间人。
They didn't know Walt Disney.
They didn't know Walt Disney.
And they weren't well-paid by Walt Disney, as the master animators were.
而且他们并没有像动画大师那样得到华特迪士尼的高薪。
I think Walt Disney's attitude was: Lookit, anybody can do that stuff.
我认为华特·迪士尼的态度是：瞧，任何人都可以做到这一点。
The master animators, that's one thing.
The master animators, that's one thing.
But doing in-between work, why am I going to pay them top dollar?
但是做中间工作，为什么我要付给他们高薪呢？
They're not artists.
They're not artists.
Tom Sito, Writer: : Some of the people who told me about the cafeteria, they said the cafeteria was wonderful, but most of the rank-and-file artists couldn't afford to eat there.
汤姆·西托（Tom Sito），作家：：一些向我介绍自助餐厅的人说，自助餐厅很棒，但大多数普通艺术家都吃不起那里的饭。
They still had to go out to the sandwich wagon out on the street 'cause the salaries were all over the place.
他们仍然不得不去街上的三明治车上，因为工资到处都是。
You know, I mean, there were people making $200 and $300 a week and people making $12 a week.
You know, I mean, there were people making $200 and $300 a week and people making $12 a week.
Narrator: : Workers at the bottom of the Disney ladder were starting to grumble in 1940; now that the company's finances were public, everybody knew the boss was making five or 10 times more than the highest paid members of his creative team; and more than 100 times that of the women working in ink-and-paint.
Narrator: : Workers at the bottom of the Disney ladder were starting to grumble in 1940;现在公司的财务状况已经公开，每个人都知道老板的收入是创意团队中收入最高的成员的五倍或十倍；是从事水墨画工作的女性的100倍以上。
Disney, who still insisted that all his employees call him "Walt," was oblivious to the complaints at his new studio.
迪士尼仍然坚持所有员工都称他为“沃尔特”，但他对新工作室的抱怨却视而不见。
It was no longer common to see him wandering the halls, engaging in idle chatter, batting around story ideas.
It was no longer common to see him wandering the halls, engaging in idle chatter, batting around story ideas.
He spent most of his time in his own suite of offices, with its private bath and bedroom, and a team of secretaries standing guard at his door.
他大部分时间都在自己的办公室里度过，那里有私人浴室和卧室，还有一群秘书在门口守卫。
Hollywood was famous for its glamorous movie stars and directors, but it would not have functioned without the men and women working behind the scenes -- building sets, adjusting lights, drawing animation.
好莱坞以其迷人的电影明星和导演而闻名，但如果没有幕后的男男女女——搭建布景、调整灯光、绘制动画，好莱坞就不会运转。
When federal legislation had passed in 1935 allowing collective bargaining, Hollywood's backstage hands began to organize.
When federal legislation had passed in 1935 allowing collective bargaining, Hollywood's backstage hands began to organize.
More than a half-dozen Hollywood unions and guilds emerged in the late 1930s to bargain for better working conditions and better pay.
20 世纪 30 年代末出现了六个以上的好莱坞工会和行会，旨在争取更好的工作条件和更高的工资。
Among them was the Screen Cartoonists Guild, which offered representation for the animators, assistants, in-betweeners, and ink-and-paint artists working across the industry.
其中包括屏幕漫画家协会，它为整个行业的动画师、助理、中间人以及水墨艺术家提供代表。
By 1940 the cartoonists guild had organized the animation departments at all of the major studios; except Disney's, which employed more than half the men and women working in the field of animation.
到 1940 年，漫画家协会在所有主要工作室都组建了动画部门； except Disney's, which employed more than half the men and women working in the field of animation.
Tom Sito, Writer: : Even after organizing MGM, and Warner Brothers, and Screen Gems, and George Pal, and Walter Lantz, it only came to maybe about 150 people while Disney's was like 600.
编剧汤姆·西托 (Tom Sito)：即使在组织了米高梅、华纳兄弟、银幕宝石、乔治·帕尔和沃尔特·兰茨之后，它的人数也只有大约 150 人，而迪士尼的人数约为 600 人。
If unionism was to work in Hollywood, Disney's was the ultimate battle.
If unionism was to work in Hollywood, Disney's was the ultimate battle.
Narrator: : Walt Disney saw little reason to be worried.
Narrator: : Walt Disney saw little reason to be worried.
He was not like those other fat-cat studio heads, he told himself.
He was not like those other fat-cat studio heads, he told himself.
He and his "boys," as he called his animators, were in this thing together.
He and his "boys," as he called his animators, were in this thing together.
Carmenita Higginbotham, Art Historian: : Walt sees himself as the father of this company and that everyone who works for him believes in what they are doing, the enterprise of being animators, of being artists, and being part of a business, and part of the studio.
Carmenita Higginbotham，艺术史学家：沃尔特将自己视为这家公司之父，每个为他工作的人都相信自己所做的事情，相信成为动画师、成为艺术家、成为企业和工作室的一部分。
Neal Gabler, Biographer: : "Why in the world would anyone need a union, when I'm giving you everything you could possibly want?" He didn't see paternalism in this.
Neal Gabler, Biographer: : "Why in the world would anyone need a union, when I'm giving you everything you could possibly want?" He didn't see paternalism in this.
He saw kindness and generosity in it.
He saw kindness and generosity in it.
Narrator: : There were plenty of people at Burbank who did not see the labor situation as Walt Disney did; and among them was one of his best animators, Art Babbitt.
Narrator: : There were plenty of people at Burbank who did not see the labor situation as Walt Disney did;其中就有他最好的动画师之一，阿特·巴比特。
Babbitt had been with Disney for nearly a decade, contributing to every major film, and almost single-handedly creating the popular character Goofy.
巴比特在迪士尼工作了近十年，为每一部主要电影做出了贡献，并几乎独自创造了受欢迎的角色高飞。
He was one of the highest salaried animators on the Burbank lot, but made little effort to hide his sympathies for other animators who had been denied on-screen credits, or for the hundreds of assistants and inkers who were barely eking out a living.
他是伯班克片区薪水最高的动画师之一，但他毫不掩饰自己对其他被拒绝在银幕上出演的动画师的同情，也毫不掩饰对数百名勉强维持生计的助手和墨水师的同情。
Neal Gabler, Biographer: : He was rather a large personality.
Neal Gabler, Biographer: : He was rather a large personality.
He wasn't subservient to Walt.
He wasn't subservient to Walt.
He didn't have that kind of relationship to him.
He didn't have that kind of relationship to him.
He was his own man, he was independent, and Walt didn't like it.
He was his own man, he was independent, and Walt didn't like it.
Tom Sito, Writer: : Babbitt used to tell the story about a young painter who was making $16 a week whose husband had run off because of the Great Depression.
汤姆·西托（Tom Sito），作家：：巴比特曾经讲述过一个年轻画家的故事，他每周挣 16 美元，但他的丈夫因大萧条而离家出走。
And what she was doing is that she was skipping lunches because she wanted to keep feeding her family.
她所做的就是不吃午餐，因为她想继续养活家人。
And one day she actually fainted from malnutrition.
And one day she actually fainted from malnutrition.
Narrator: : Disney didn't see the problem, and certainly didn't want to hear about it.
旁白：：迪士尼没有看到这个问题，当然也不想听到这个问题。
He was incensed when he learned that the Screen Cartoonists Guild was trying to organize his shop.
当他得知屏幕漫画家协会试图组织他的商店时，他非常愤怒。
He was certain he had the right to run his own company as he saw fit.
他确信他有权以他认为合适的方式经营自己的公司。
In February of 1941, Walt decided to make his case, personally, to the men and women working for him.
1941 年 2 月，沃尔特决定亲自向为他工作的男男女女讲述他的情况。
He gathered the staff in the only auditorium at the studio big enough to hold all 1,200 of his employees.
他将员工聚集在工作室唯一一个足够容纳 1,200 名员工的礼堂里。
Walt Disney (archival audio): : In the 20 years I have spent in this business, I have weathered many storms.
沃尔特·迪士尼（档案音频）：：在我从事这个行业的20年里，我经历了许多风暴。
It's been far from easy sailing, which required a great deal of hard work, struggle, determination, confidence, faith, and above all, unselfishness.
这远非一帆风顺，需要大量的努力、奋斗、决心、信心、信念，最重要的是，无私。
Some people think that we have class distinction in this place.
有些人认为我们这里有阶级差别。
They wonder why some get better seats in the theater than others.
他们想知道为什么有些人在剧院里比其他人获得更好的座位。
They wonder why some men get spaces in the parking lot and others don't.
他们想知道为什么有些人能在停车场找到车位，而另一些人则不能。
I have always felt, and always will feel, that the men who contribute the most to the organization should, out of respect alone, enjoy some privileges.
我一直觉得，而且永远觉得，那些对组织贡献最大的人应该仅仅出于尊重而享有一些特权。
My first recommendation to the lot of you is this: Put your own house in order.
我给你们的第一个建议是：把自己的房子收拾好。
You can't accomplish a damn thing by sitting around and waiting to be told everything.
坐在那里等待别人告诉你一切是不可能完成一件该死的事情的。
If you're not progressing as you should, instead of grumbling and growling, do something about it.
如果你没有取得应有的进展，与其抱怨和咆哮，不如采取行动。
Narrator: : Much of the staff left the auditorium infuriated.
旁白：：许多工作人员愤怒地离开了礼堂。
"This speech recruited more members for the Screen Cartoonists' Guild than a year of campaigning," reported one left-wing magazine.
一份左翼杂志报道说：“这次演讲为屏幕漫画家协会招募的成员比一年的竞选活动还要多。”
Babbitt was now convinced Disney workers needed a real union and signed his Screen Cartoonist Guild membership card, which made him the highest-ranking Disney employee to openly challenge the boss.
巴比特现在确信迪士尼工人需要一个真正的工会，并签署了他的屏幕漫画家协会会员卡，这使他成为公开挑战老板的级别最高的迪士尼员工。
Walt Disney saw Babbitt's move as a personal betrayal.
华特迪士尼将巴比特的举动视为个人背叛。
"I don't care if you keep your goddamn nose glued to the board all day or how much work you turn out," he told Babbitt in the hallway one day.
“我不在乎你是否整天盯着黑板，也不在乎你完成了多少工作，”有一天他在走廊里告诉巴比特。
"If you don't stop organizing my employees, I'm going to throw you right the hell out of the front gate."
“如果你不停止组织我的员工，我就把你从前门扔出去。”
At the end of May 1941, Disney sent a letter of termination to Babbitt citing as cause "union activities." Word of Babbitt's firing shot through the studio in Burbank.
1941 年 5 月底，迪士尼向巴比特发出了一封终止函，理由是“工会活动”。巴比特被开枪的消息传遍了伯班克的工作室。
Disney employees who supported the guild met after work the following evening, and by a vote of 315 to four, determined to take a stand against their boss.
支持该协会的迪士尼员工第二天晚上下班后开会，以 315 比 4 的投票结果，决定采取立场反对他们的老板。
When he drove up to his studio gate on May 29, 1941, the picketers were already on the march.
1941 年 5 月 29 日，当他开车到工作室门口时，纠察队已经在行进了。
Walt Disney was forced to wend his way through more than 200 of his striking workers.
沃尔特·迪士尼 (Walt Disney) 被迫将 200 多名罢工工人排除在外。
Nearly half of the studio's art department had walked out, and it wasn't just the low-wage workers; some of Disney's most trusted animators were also on the picket line.
工作室美术部门近一半的人都走了，而且不仅仅是低薪工人，还有其他人。一些迪士尼最值得信赖的动画师也加入了纠察线。
Don Hahn, Animator: : The street's full of strikers, not only from Disney but from other studios, parading back and forth with signs and this wonderful, idyllic, utopian place is in shambles.
动画师唐·哈恩 (Don Hahn)：街上挤满了罢工者，不仅来自迪士尼，还来自其他工作室，举着标语来回游行，而这个美妙、田园诗般的乌托邦之地却一片混乱。
Ron Suskind, Writer: : All of a sudden the moment of the shared, that "we are in this together, the victories are all of our victories," that spell gets broken.
罗恩·苏斯金德（Ron Suskind），编剧：：突然之间，“我们在一起，胜利就是我们所有的胜利”这一共同的时刻，这个咒语被打破了。
Sarah Nilsen, Film Historian: : He poured his passion, everything he believed in into his studio.
电影史学家莎拉·尼尔森 (Sarah Nilsen)：：他将自己的热情和所信仰的一切倾注到了自己的工作室中。
It was the studio that went against him at this point.
此时正是工作室与他作对。
It was his own creation that went against him.
是他自己的创造与他作对。
Douglas Brode, Film Historian: : A certain light, if not had gone out, at least dimmed inside Walt Disney.
道格拉斯·布罗德（Douglas Brode），电影史学家：：华特迪士尼内部有一盏灯，即使没有熄灭，至少也变暗了。
There is before the strike and there's after, and he was two different people.
有罢工前，有罢工后，他是两个不同的人。
Narrator: : Another man might have walked away from his shattered Utopia and called it a day.
旁白：：另一个人可能会离开他破碎的乌托邦并就此结束。
But Disney still had work to do, and woe be to the forces that stood in his path.
但迪士尼仍有工作要做，阻挡他前进道路的力量有祸了。
Neal Gabler, Biographer: : Walt Disney could deal with anything creatively.
传记作者尼尔·加布勒：沃尔特·迪士尼可以创造性地处理任何事情。
He could yell and scream and that's where he wanted his energies to be devoted.
他可以大喊大叫，这就是他希望将精力投入的地方。
But he didn't want to be devoted to this.
但他并不想致力于此。
And he couldn't understand it.
And he couldn't understand it.
Narrator: : Employees at the Walt Disney studios had been begging for better wages, extra pay for overtime, and a uniform system for determining job titles and screen credits for months.
旁白：几个月来，华特迪士尼工作室的员工一直在乞求更高的工资、加班费以及确定职称和片酬的统一制度。
Walt had waved this off as the hobby-horse of a few hotheads and union agitators, right up to May 29, 1941, the day nearly half of his art department walked out to take up positions on the picket line.
直到 1941 年 5 月 29 日，沃尔特作为一些急性子和工会煽动者的木马，一直对这一点不屑一顾，这一天，他的艺术部门近一半的人走上纠察线。
The strike demonstrations got bigger in the first weeks, and louder, and so did the threat to the already shaky studio.
罢工示威在最初几周变得更大、更响亮，对本已摇摇欲坠的工作室的威胁也更大。
Disney's last two feature films -- Pinocchio and Fantasia -- had both lost money and investors were fleeing; the company stock had dropped from $25 dollars a share to $4.
迪士尼的最后两部故事片——《匹诺曹》和《幻想曲》——都亏损了，投资者纷纷逃离；公司股票从每股 25 美元跌至 4 美元。
Walt Disney needed a box office hit soon, and his own workers seemed intent on derailing the studio's only two hopes: Dumbo and Bambi .
沃尔特·迪士尼需要尽快取得票房成功，而他自己的员工似乎一心想要破坏工作室仅有的两个希望：《小飞象》和《小鹿斑比》。
Tom Sito, Writer: : As the strike lingered and kept going, the mood of everybody started to get ugly, and people started to get angrier, and then Walt was getting angry.
作家汤姆·西托（Tom Sito）：随着罢工持续不断，每个人的情绪都开始变得难看，人们开始变得更加愤怒，然后沃尔特也变得愤怒。
Narrator: : A month into the strike, Disney refused to recognize the union representing his workers, the Screen Cartoonist Guild.
旁白：罢工一个月后，迪士尼拒绝承认代表其工人的工会——屏幕漫画家协会。
He refused to negotiate with the guild's representative, Herbert Sorrell.
他拒绝与公会代表赫伯特·索雷尔谈判。
And he refused to make apologies to the man whose firing had prompted the strike, long-time Disney animator Art Babbitt.
他还拒绝向迪士尼长期动画师阿特·巴比特（Art Babbitt）道歉，后者是导致这次罢工的原因。
Tom Sito, Writer: : There was one day where Art Babbitt noticed Disney driving to the gate.
汤姆·西托 (Tom Sito)，作家： 有一天，阿特·巴比特 (Art Babbitt) 注意到迪士尼正驶向大门。
And Babbitt just kind of blew his stack and just jumped over and grabbed the bullhorn and shouted out loud so everybody could hear, "There he goes, the great man," and basically just heaped abuse on Disney.
巴比特有点搞砸了，跳过去抓住扩音器，大声喊叫，这样每个人都能听到，“他走了，伟大的人”，基本上就是对迪士尼的谩骂。
"Shame on you, Walt Disney."
“你真丢脸，华特·迪士尼。”
Narrator: : As the crowd cheered, Disney jumped out of his car and charged at Babbitt.
旁白：：在人群的欢呼声中，迪士尼跳下车，向巴比特冲去。
The two men had to be pulled apart.
两个人不得不被拉开。
Walt Disney could not believe that so many of his workers had actually taken sides with the union, and against him.
沃尔特·迪士尼 (Walt Disney) 无法相信他的这么多工人实际上站在了工会一边，反对他。
Disney sniffed conspiracy -- and a big one.
迪士尼嗅到了阴谋——而且是一个大阴谋。
He went public with his pet theory in a full-page advertisement in a Hollywood trade paper, Variety .
他在好莱坞商业报纸《综艺》的整版广告中公开了他的宠物理论。
Nancy Koehn, Historian: : He needed to have a bad guy.
南希·科恩，历史学家：：他需要一个坏人。
He needs to blame it all on a villain.
他需要将这一切归咎于一个恶棍。
And in this case, the new flavor of the month in Hollywood at that time and later, would be the shadow or specter of Communism.
在这种情况下，当时和以后好莱坞的本月新风味将是共产主义的阴影或幽灵。
Eric Smoodin, Film Historian: : He becomes then like a typical industrial boss.
埃里克·斯穆丁（Eric Smoodin），电影史学家：：他变得像一个典型的工业老板。
Most American executives at the time blame unionization on Communists.
当时大多数美国高管将工会化归咎于共产党人。
So in this way Disney becomes completely conventional.
所以这样迪士尼就变得完全传统了。
Neal Gabler, Biographer: : Walt Disney is being bombarded by all of this negativity.
传记作者尼尔·加布勒（Neal Gabler）：沃尔特·迪士尼正在受到所有这些负面情绪的轰炸。
And it's just not something he was accustomed to.
这不是他习惯的事情。
Narrator: : "The entire situation is a catastrophe," he wrote to a friend.
旁白：：“整个情况是一场灾难，”他在给朋友的信中写道。
"The spirit that played such an important part in the building of the cartoon medium has been destroyed...
“在卡通媒体建设中发挥如此重要作用的精神已经被摧毁......
I have a case of the D.D.'s -- disillusionment and discouragement." The next day Disney skipped town for a 10-week working tour of South America, and left the headaches to his brother and long-time business partner, Roy.
我有一个 D.D. 的案例——幻灭和沮丧。”第二天，迪士尼离开小镇去南美洲进行为期 10 周的工作旅行，把头疼的事情留给了他的兄弟和长期商业伙伴罗伊。
Steven Watts, Historian: : What Walt Disney was doing was getting away, period.
历史学家史蒂文·沃茨：沃尔特·迪士尼当时所做的就是逃跑，就这样。
He just was sick and tired of the whole business, and he wanted to go away and do something else.
他只是厌倦了这一切，他想离开去做点别的事情。
Neal Gabler, Biographer: : South America is a real relief for Walt Disney.
尼尔·加布勒（Neal Gabler），传记作者：：南美洲对华特·迪士尼来说是真正的解脱。
Wherever his plane lands, people are there to greet him; dignitaries invite him to dinners.
无论他的飞机降落在哪里，人们都会在那里迎接他；达官贵人邀请他共进晚餐。
Everybody loves him.
每个人都爱他。
And I think the contrast between the affection with which he's greeted in South America and the kind of hostility with which he'd been greeted in Los Angeles isn't lost on him.
我认为他在南美洲受到的热情欢迎与他在洛杉矶受到的敌意之间的对比并没有消失。
Narrator: : Disney was still on the road in South America when his father, Elias Disney, died unexpectedly.
旁白：：迪士尼还在南美洲的路上，他的父亲埃利亚斯·迪士尼就意外去世了。
Walt declined to cut his trip short and return home for the funeral of the man with whom he had clashed much of his life.
沃尔特拒绝缩短行程并回家参加这位与他一生发生冲突的人的葬礼。
This was just fine with Roy; he was happy to have Walt and his explosive temper remain at a safe remove while he tried to make peace with the Screen Cartoonists Guild.
罗伊对此很满意。他很高兴沃尔特和他的暴躁脾气能够在他试图与屏幕漫画家协会和解的同时保持安全。
Steven Watts, Historian: : Roy Disney sees the writing on the wall.
历史学家史蒂文·沃茨：罗伊·迪士尼看到了不祥之兆。
He sees that unionization is coming into the studios whether we like it or not, and he wants to settle this.
他看到无论我们喜欢与否，工会正在进入工作室，他想解决这个问题。
He wants to get things up and running.
他想让事情启动并运行。
Narrator: : By the time Walt did finally return at the end of October, Roy had resolved the strike.
旁白：：当沃尔特最终在十月底回来时，罗伊已经解决了罢工问题。
The workers had been granted almost everything they had asked for.
工人们几乎得到了他们所要求的一切。
The Disney art department was back on track, but the studio would never again feel like family to Walt.
迪士尼艺术部门重回正轨，但工作室再也不会像沃尔特的家人一样。
Don Lusk, Animator: : The gal I married was a secretary in personnel.
Don Lusk，动画师：：我娶的女孩是人事秘书。
She was called up to Walt's office to help on the files.
她被叫到沃尔特的办公室帮忙处理文件。
And she would go through and find people that were out on strike.
她会仔细寻找那些参加罢工的人。
And they were moved from here to this file.
他们被从这里移到了这个文件中。
Walt came in and said, "How's it going?" She just said, "What are we doing this for?" And he said, "Well, these are the people that are true to Disney.
沃尔特进来问道：“怎么样？”她只是说：“我们这样做是为了什么？”他说：“嗯，这些人都是忠实于迪士尼的人。
These are the people who at one time or one day will not be here."
这些人在某个时候或某一天不会在这里。”
Tom Sito, Writer: : After the strike, Walt distrusted everybody.
汤姆·西托（Tom Sito），作家：：罢工之后，沃尔特不再信任所有人。
One of the great animators who worked on Snow White said, "Walt Disney was a great man.
一位参与《白雪公主》的伟大动画师说道：“沃尔特·迪士尼是一个伟大的人。
Walt Disney was a genius.
沃尔特·迪士尼是个天才。
If you were his friend, he was a warm friend.
如果你是他的朋友，他就是一个热情的朋友。
If you crossed him, he was a mean SOB."
如果你惹恼了他，他就是个卑鄙的混蛋。”
Narrator: : Just a few months after the bruising strike, World War II arrived at the Disney Studios, much of which was commandeered as a base for anti-aircraft troops.
旁白： 惨痛的罢工发生几个月后，第二次世界大战就降临到了迪士尼影城，其中大部分被征用为防空部队的基地。
Walt kept up a happy front, especially for his two daughters, but things were not great on the Disney lot.
沃尔特一直保持着快乐的外表，尤其是对他的两个女儿，但迪士尼乐园的情况并不好。
Funding for feature film production had dried up by the summer of 1942.
到 1942 年夏天，故事片制作的资金已经枯竭。
The company was limping along on revenue generated by government contracts for propaganda and training films.
该公司靠政府宣传和培训电影合同产生的收入步履维艰。
Bambi's Mother, Bambi (archival): : It seems long, but it won't last forever.
斑比的母亲，斑比（档案）：：看似漫长，但不会永远持续下去。
Narrator: : Walt was counting on a big box-office hit to revive his faltering studio, and he believed Bambi could fill that bill.
旁白：沃尔特指望票房大卖来重振他摇摇欲坠的工作室，他相信斑比可以填补这一空白。
He had nurtured the film for nearly five years, kept the project alive through the worst of the strike.
他花了近五年的时间来培育这部电影，让这个项目在最糟糕的罢工时期保持活力。
Bambi's Mother, Bambi (archival): : Bambi?
斑比的母亲，斑比（档案）：：斑比？
Bambi, come here!
斑比，过来！
Look!
看！
New spring grass.
新春草。
Narrator: : When it was finally released in August of 1942, Bambi stood out as the most ambitious feature-length film in the history of the studio: an artist's rendering of the natural world in all its beauty and peril.
旁白：：当《小鹿斑比》于 1942 年 8 月最终上映时，它成为该工作室历史上最雄心勃勃的长篇电影：一位艺术家对自然世界的美丽和危险的描绘。
Bambi's Mother, Bambi (archival): : Faster!
斑比的母亲，斑比（档案）：：更快！
Faster, Bambi!
快点，小鹿斑比！
Don't look back!
别回头！
Keep running!
继续跑！
Keep running!!
继续跑！！
Bambi, Bambi (archival): : We made it.
小鹿斑比，小鹿斑比（档案）：：我们成功了。
We made it, Mother!
我们成功了，妈妈！
We -- Mother?
我们——妈妈？
Mother!
母亲！
Mother, where are you?
妈妈，你在哪里？
Mother!
母亲！
Don Hahn, Animator: : A generation was and still is traumatized by that moment in Bambi.
唐·哈恩（Don Hahn），动画师：：一代人过去、现在仍然因《小鹿斑比》中的那一刻而受到创伤。
Don Hahn, Animator: : And it's done almost in pantomime with the snow falling.
唐·哈恩（Don Hahn），动画师：：随着雪花飘落，这几乎是在哑剧中完成的。
Fearless filmmaking.
无畏的电影制作。
Absolute fearlessness.
绝对的无所畏惧。
The Great Prince of the Forest, Bambi's father, Bambi (archival): : Your mother can't be with you anymore.
伟大的森林王子，斑比的父亲，斑比（档案）：：你的母亲不能再和你在一起了。
Come, my son.
来吧，我的儿子。
Neal Gabler, Biographer: : Bambi is a triumph for Disney in the sense that it probably extends realistic animation as far as it had gone, up to that point.
尼尔·加布勒（Neal Gabler），传记作者：：《小鹿斑比》对于迪士尼来说是一次胜利，因为它可能将现实动画延伸到了目前为止。
But by the time the film came out, it was almost as if Disney, in the course of a couple of years, had become passé.
但当这部电影上映时，迪士尼在几年的时间里几乎已经过时了。
Narrator: : Bambi did not make back its costs in its initial run.
旁白：：斑比在最初的运行中并没有收回成本。
Disney could tell his investors -- as he could tell himself -- that the war was to blame for the deficit, but that failure -- coming so close on the heels of the strike -- made it impossible for him to deny the obvious.
迪士尼可以告诉他的投资者——正如他可以告诉自己的那样——战争是造成赤字的罪魁祸首，但这次失败——紧随罢工而来——使他无法否认显而易见的事实。
He had invested too much in animated features (money, energy, effort, his own heart) and what did he have to show for it?
他在动画上投入了太多（金钱、精力、努力、自己的心），而他又要拿出什么来呢？
A crippled company filled with people who had turned on him; a mountain of debt; scorchings from the political press, the art world, film critics.
一个瘫痪的公司里挤满了背叛他的人；债务如山；来自政治媒体、艺术界、影评人的严厉批评。
Tom Sito, Writer: : One of the things that was lost was the great period of Disney experimentation.
汤姆·西托（Tom Sito），作家：：失去的东西之一就是迪士尼实验的伟大时期。
The first five Disney features is known in the business as "The Big Five." And "The Big Five" is Snow White , Pinocchio , Fantasia , Bambi , and Dumbo .
迪士尼的前五部影片在业界被称为“五巨头”。 “五巨头”是白雪公主、匹诺曹、幻想曲、小鹿斑比和小飞象。
Now, if you look at those films individually they don't look anything like one another.
现在，如果你单独看这些电影，它们看起来一点都不像。
When you talk about the Disney style, there was no Disney style back then.
当你谈到迪士尼风格时，当时还没有迪士尼风格。
Pinocchio looks nothing like Bambi .
匹诺曹看起来一点也不像小鹿斑比。
Bambi looks nothing like Dumbo .
小鹿斑比看起来一点也不像小飞象。
Neal Gabler, Biographer: : The paradise that Disney had at Hyperion and into the early days of the Burbank studio is gone.
传记作者尼尔·加布勒：迪士尼在海伯利安和伯班克工作室早期所拥有的天堂已经消失了。
And with that paradise lost, the sense of the animations and the greatness of the animations is also lost.
随着天堂的消失，动画的感觉和动画的伟大也随之消失。
It's never going to be the same.
它永远不会一样。
Johnny Mercer, Radio host (archival audio): : Hey Walt, how did you happen to choose the tales of Uncle Remus as the story for Song of the South ?
约翰尼·默瑟（Johnny Mercer），电台主持人（档案音频）： ：嘿沃尔特，你是怎么选择雷穆斯叔叔的故事作为《南方之歌》的故事的？
Walt Disney (archival audio): : Well, Johnny, I first heard the stories of Uncle Remus when I was a boy down in Missouri.
沃尔特·迪士尼（档案音频）：：嗯，约翰尼，当我还是密苏里州的一个小男孩时，我第一次听到雷姆斯叔叔的故事。
And since then, they've been one of my favorites.
从那时起，它们就成为我的最爱之一。
Johnny Mercer, Radio host (archival audio): : Your favorites, and a million others'.
约翰尼·默瑟 (Johnny Mercer)，电台主持人（存档音频）：：您和上百万其他人的最爱。
Carmenita Higginbotham, Art Historian: : The Uncle Remus stories are a piece of American folklore, and that is the kind of story Walt is interested after World War II.
Carmenita Higginbotham，艺术史学家：：雷姆斯叔叔的故事是美国民间传说，而这正是沃尔特在二战后感兴趣的故事。
It's a way for him to start to break away from the European fairytale as the foundation of his narratives.
这是他开始摆脱以欧洲童话为叙事基础的一种方式。
He sees it as being very personal and speaking to his own sense of boyhood.
他认为这是非常个人化的，表达了他自己的童年感觉。
Narrator: : Disney took a cost-conscious approach on Song of the South , mixing cheaper live-action sequences with animation -- and for good reason.
旁白：迪士尼在《南方之歌》中采取了注重成本的方法，将更便宜的真人场景与动画结合在一起——这是有充分理由的。
His bankers were no longer willing to risk their money on the Disney studio's full-length animated features, even after the war was over.
即使战争结束后，他的银行家也不再愿意拿钱去冒险购买迪士尼工作室的长篇动画长片。
Many of the first generation of Disney animators had left Burbank, and his once cutting-edge equipment was rusting like a junk-heap in a back lot.
许多第一代迪士尼动画师都离开了伯班克，他曾经最先进的设备像后院的垃圾堆一样生锈。
By Walt's reckoning, the studio had only one reliable and undiminished asset from its pre-war glory days: his own instincts about what story to choose, and how to tell it.
沃尔特认为，工作室在战前的辉煌岁月中只有一项可靠且未被削弱的资产：他自己对选择什么故事以及如何讲述故事的直觉。
Steven Watts, Historian: : It's the story of outsiders: a young white boy who's dreadfully unhappy, a young black boy who is his good friend, Uncle Remus, the wise old black storyteller, and, in the animated sections, Brer Rabbit himself.
史蒂文·沃茨，历史学家：：这是一个局外人的故事：一个非常不快乐的年轻白人男孩，一个他的好朋友雷姆斯叔叔，聪明的老黑人讲故事者，以及动画部分中的兔子兄弟本人。
And in all of these things, what you get is a typical Disney populist story of the triumph of the underdog, outwitting your powerful opponents, maneuvering, doing what you had to do to triumph.
在所有这些事情中，你得到的是一个典型的迪士尼民粹主义故事，讲述弱者的胜利，智取强大的对手，采取策略，做你必须做的事情来取得胜利。
Narrator: : Disney had been thinking about the Joel Chandler Harris stories for years; he had optioned them during his 1939 spending spree following Snow White .
旁白：：迪士尼多年来一直在思考乔尔·钱德勒·哈里斯的故事； 1939 年，他在追随《白雪公主》的大肆消费期间选择了它们。
The Uncle Remus stories were uncomplicated; the politics were not.
莱姆斯叔叔的故事并不复杂。政治则不然。
Harris had set the action on a plantation in the Deep South just after the Civil War, which meant Disney's adaptation would have to negotiate the questions of slavery and race in America -- a dicey proposition after World War II, when white supremacists in the South were fighting tooth and nail to maintain racial segregation.
哈里斯在内战刚结束时就将故事设定在南方腹地的一个种植园，这意味着迪士尼的改编作品必须讨论美国的奴隶制和种族问题——这是二战后的一个冒险提议，当时南方的白人至上主义者正在竭尽全力维持种族隔离。
Don Hahn, Animator: : The core issue is, is it okay to be an African American and have this kind of joyous sense of storytelling about you, knowing that you went through the most horrific chapter of American history?
动画师唐·哈恩 (Don Hahn)：核心问题是，作为一名非裔美国人，知道自己经历了美国历史上最可怕的一章，并有这种讲述自己故事的欢乐感，这可以吗？
Civil rights was not in full bloom, but certainly the NAACP and men coming back from war were saying, "I fought for an America that was, that was equal.
民权尚未全面展开，但全国有色人种协进会和从战争中归来的人们肯定会说：“我为一个平等的美国而战。
And this is a part of our history that we have to deal with, a very profound social pain that we all share.
这是我们必须面对的历史的一部分，是我们共同经历的非常深刻的社会痛苦。
And we don't want to whitewash into something that is this jolly story."
我们不想粉饰这个欢乐的故事。”
Carmenita Higginbotham, Art Historian: : Walt Disney has never been, up until this point, really concerned about social issues.
卡梅尼塔·希金博特姆 (Carmenita Higginbotham)，艺术史学家：：到目前为止，沃尔特·迪士尼 (Walt Disney) 从未真正关心过社会问题。
And to present the black body in the South the way he wanted to through a folktale, which was going to rely very heavily on stereotype, he was going to need to vet that from some source.
为了以他想要的方式通过民间故事来呈现南方的黑人身体，这将在很大程度上依赖于刻板印象，他需要从某些来源进行审查。
Narrator: : Disney solicited notes from well-known African American intellectuals and activists, including the head of the NAACP.
旁白：迪士尼向著名的非裔美国知识分子和活动家征求意见，其中包括全国有色人种协进会的负责人。
One scholar told Disney "he could do wonders in transforming public opinion," but only if he avoided the most hurtful stereotypes, like scenes of former slaves belting out happy songs on Southern plantations.
一位学者告诉迪士尼，“他可以在改变公众舆论方面创造奇迹”，但前提是他避免最有害的刻板印象，比如前奴隶在南方种植园高唱欢乐歌曲的场景。
Disney took the notes, and then trusted to his own instincts.
迪士尼记下笔记，然后相信自己的直觉。
Steven Watts, Historian: : As usual, when Disney got advice, he often didn't pay much attention to it, and he just sort of went ahead with how he envisioned things.
史蒂文·沃茨，历史学家：：像往常一样，当迪士尼得到建议时，他通常不会太在意，他只是按照自己的设想行事。
Narrator: : Disney chose to celebrate opening night of Song of the South in Atlanta, Georgia, where the celebrated epic of the Civil War South, Gone With the Wind , had premiered seven years earlier.
旁白：迪士尼选择在佐治亚州亚特兰大庆祝《南方之歌》的首映之夜，七年前，著名的南方内战史诗《乱世佳人》曾在这里首映。
The actors who played the major white roles were all there.
扮演主要白人角色的演员都在那里。
But not James Baskett, who played Uncle Remus: Georgia law barred the movie's star from entering the segregated theater.
但扮演雷穆斯叔叔的詹姆斯·巴斯克特却不然：佐治亚州法律禁止该电影的明星进入隔离的剧院。
Uncle Remus, Song of the South (archival, singing): : Zip-a-Dee-Doo-Dah, Zip-a-Dee-Ay!
莱姆斯叔叔，南方之歌（档案，演唱）：：Zip-a-Dee-Doo-Dah，Zip-a-Dee-Ay！
My oh my, what a wonderful day.
天哪，天哪，真是美好的一天。
Plenty of sunshine headin' my way.
充足的阳光正向我袭来。
Zip-a-Dee-Doo-Dah, Zip-a-Dee-Ay!
Zip-a-Dee-Doo-Dah，Zip-a-Dee-Ay！
Carmenita Higginbotham, Art Historian: : It is as if Walt is divorced himself from social context.
Carmenita Higginbotham，艺术史学家： 沃尔特似乎脱离了社会背景。
It's sort of stunning.
这有点令人惊叹。
Group of slaves on plantation, Song of the South (archival, singing): : It's the same ol' thing, want to get a bag of something for the hungry lord.
种植园里的一群奴隶，南方之歌（档案，歌唱）：：都是同样的事情，想要为饥饿的领主买一袋东西。
Look up!
抬头！
Narrator: : Critics were split.
旁白：：批评者意见不一。
"The whole film is beautifully produced," wrote one.
“整部电影制作精美，”其中一位写道。
"The plantation is traditional Deep South -- a dream place of magnolia blossoms and darkies singin' all day long...
“这个种植园是传统的南方腹地——一个开着木兰花、整天唱歌的黑人的梦想之地......
Don't let the children miss it."
别让孩子们错过了。”
Group of slaves on plantation, Song of the South (archival, singing): : …Go fly away!
种植园里的一群奴隶，南方之歌（档案，歌唱）：……飞走吧！
Had the trouble with the weaver!
织工遇到麻烦了！
Sally, Song of the South (archival): : No, it's my fault.
莎莉，南方之歌（档案）：：不，这是我的错。
I should've known you couldn't stop telling your stories.
我早该知道你无法停止讲述你的故事。
I don't like to say this Uncle Remus, but from now on I want you to stay away from Johnny.
我不想这么说莱姆斯叔叔，但从现在开始我希望你远离约翰尼。
Narrator: : Others, like the usually friendly New York Times , hit Disney hard…
旁白：：其他人，比如一向友好的《纽约时报》，对迪士尼进行了严厉的打击……
Narrator: : ..."The master-and-slave relation is so lovingly regarded in your yarn that one might almost imagine that you figure Abe Lincoln made a mistake." The NAACP decried Song of the South as a "dangerously glorified picture of slavery," and many of its local chapters called for a boycott.
旁白：：……“在你的故事中，主人和奴隶的关系被如此亲切地对待，以至于人们几乎会认为你认为亚伯·林肯犯了一个错误。”全国有色人种协进会谴责《南方之歌》是“危险地美化奴隶制的画面”，其许多地方分会呼吁抵制。
Carmenita Higginbotham, Art Historian: : Disney was utterly dismayed by the negative reaction to Song Of The South .
Carmenita Higginbotham，艺术史学家：：迪士尼对《南方之歌》的负面反应感到非常沮丧。
He very much believed in the narratives that it was offering.
他非常相信它所提供的叙述。
He believed that these were American stories finally getting an opportunity to be on the big screen and in a feature film.
他相信这些美国故事终于有机会登上大银幕和故事片。
And so Walt is sort of shocked and disheartened by the responses that he's getting.
因此，沃尔特对他得到的回应感到有点震惊和沮丧。
Narrator: : Disney decided the attacks were being engineered by his old foes, Communists, who had been waiting for another chance to take a whack at him since the strike.
旁白：迪士尼认为这些袭击是他的宿敌共产党人策划的，自罢工以来，共产党人一直在等待再次攻击他的机会。
"Hollywood was loaded...
“好莱坞充满了......
with 'em," Walt would say.
和他们在一起，”沃尔特会说。
"I had a lot of people just hoping it was the end."
“很多人都希望这就是结局。”
There was a hot new animation studio in town by 1947 -- United Productions of America.
1947 年，镇上出现了一家热门的新动画工作室——United Productions of America。
UPA and its founders had very different ideas from Walt Disney's, and it looked like they were leading a creative revolution against everything Disney had stood for.
UPA 及其创始人的想法与华特迪士尼的想法截然不同，看起来他们正在引领一场创意革命，反对迪士尼所代表的一切。
Tom Sito, Writer: : Who says the natural goal of animation is realism?
汤姆·西托（Tom Sito），编剧：谁说动画的自然目标是现实主义？
Why can't we use the trends that are entering into modern art?
为什么我们不能利用正在进入现代艺术的趋势呢？
Why can't we do cartoons like this instead of trying to make everything so damn realistic all the time?
为什么我们不能制作这样的卡通片，而不是一直试图让一切变得如此真实？
And UPA was the place where suddenly people were free to experiment.
UPA 突然成为人们可以自由实验的地方。
Robert Givens, Animator: : We had a whole new approach, which was nothing like Disney's.
动画师罗伯特·吉文斯：：我们采用了一种全新的方法，与迪士尼的方法完全不同。
We looked at the great guys: Picasso and Miro and those.
我们关注了伟大的人物：毕加索和米罗等等。
So we invented a whole new way of doing it.
所以我们发明了一种全新的方法。
It was now West Bank animation, modern art, really.
现在确实是西岸动画、现代艺术。
Narrator: : Disney was keeping an eye on UPA.
旁白：：迪士尼一直在关注 UPA。
He wasn't so much threatened by its work as he was galled by its principal talent.
与其说他受到了它的工作的威胁，不如说他被它的主要才能所激怒了。
Art Babbitt was on the UPA payroll, along with a number of other artists and animators who had fled the Disney studios or been ushered out after the strike.
阿特·巴比特（Art Babbitt）和其他一些逃离迪士尼工作室或在罢工后被驱逐的艺术家和动画师都在 UPA 的工资单上。
Tom Sito, Writer: : The Burbank River goes past the Disney Studio and then it goes a mile or two down by where the UPA studio was.
汤姆·西托（Tom Sito），编剧：伯班克河流过迪士尼工作室，然后向下流一两英里，到达 UPA 工作室所在的地方。
And Disney used to call UPA "those damn Commies down river."
迪士尼曾经称 UPA 为“河下游那些该死的共产党”。
Robert Givens, Animator: : Walt was curious, because he'd send his spies over there to see what us Communists over by the river were doing, you know.
罗伯特·吉文斯，动画师：：沃尔特很好奇，因为他会派他的间谍去那里看看我们共产党人在河边做什么，你知道。
He called us the Communists.
他称我们为共产党人。
Newsreel (archival audio): : Labor strife on the movie front.
新闻片（档案音频）：：电影前线的劳工冲突。
California studios picketed in a dispute between rival unions.
加州电影公司因工会之间的纠纷而陷入纠察线。
Narrator: : Hollywood had been hit by another wave of strikes in the first few years after the war, and studio bosses were determined to blunt the unions.
旁白：战后最初几年，好莱坞又遭受了另一波罢工浪潮的打击，制片厂老板们决心削弱工会。
Walt Disney was among them.
沃尔特·迪士尼就是其中之一。
He was a founding officer of the Motion Picture Alliance for the Preservation of American Ideals, an organization sworn to protect the movie industry from what the alliance called "communists, radicals and crackpots."
他是保护美国理想电影联盟的创始成员，该组织誓言保护电影业免受联盟所谓的“共产主义者、激进分子和疯子”的侵害。
In October 1947, Walt was offered a chance to hit back at his imagined antagonists.
1947 年 10 月，沃尔特得到了反击他想象中的对手的机会。
He was invited to Washington to testify before the House Un-American Activities Committee on the subject of "Reds in the Movies," and what might be behind the new wave of labor strikes against the Hollywood studios.
他被邀请前往华盛顿，在众议院非美活动委员会作证，主题是“电影中的红人”，以及针对好莱坞电影公司的新一波劳工罢工背后的原因。
Disney, along with a dozen other high profile Hollywood executives and celebrities, was deemed one of the "friendly witnesses."
迪士尼以及其他十几位好莱坞知名高管和名人被视为“友好证人”之一。
Speaker of the Committee (archival): : And at the present time you own and operate the Walt Disney Studio at Burbank, California?
委员会发言人（档案）： ：目前您拥有并经营位于加利福尼亚州伯班克的华特迪士尼工作室？
Narrator: : The first thing Disney did was reassure the committee that he was running a clean shop in Burbank, free of any Communist taint.
旁白：迪士尼做的第一件事就是向委员会保证，他在伯班克经营着一家干净的商店，没有任何共产主义污点。
Walt Disney (archival): : They bought The Three Little Pigs and used it through Russia.
沃尔特·迪士尼（档案）：：他们购买了《三只小猪》并在俄罗斯使用它。
Narrator: : But then he started to name names -- among them one of the leaders who had organized the 1941 strike against the Walt Disney Studios.
旁白：：但随后他开始点名——其中包括组织 1941 年针对华特迪士尼工作室罢工的领导人之一。
Walt Disney (archival): : I believed at that time that Mr. Sorrell was a Communist because of all the things that I had heard and had seen his name appearing on many of Commie front things.
沃尔特·迪士尼（档案）：：当时我相信索雷尔先生是一名共产党员，因为我听到并看到他的名字出现在许多共产主义前沿的东西上。
And when he pulled the strike, the first people to put me, to smear me and put me on the unfair list were all of the Commie front organizations.
当他取消罢工时，第一个对我进行攻击、诽谤和把我列入不公平名单的人都是共产党的阵线组织。
Some of my boys, my artists, came to me and told me that Mr. Sorrell, Herbert Sorrell, was --
我的一些儿子，我的艺术家，来找我，告诉我索雷尔先生，赫伯特·索雷尔，是——
Walt Disney (archival): : Herbert K.
沃尔特·迪士尼（档案）：：赫伯特·K.
Sorrell, he laughed at me and told me that I was naive, I was foolish.
索雷尔，他嘲笑我，说我很天真，我很愚蠢。
He said, "you can't stand a strike, that I'll smear you and I'll make a dust bowl out of your place if I choose to."
他说：“你无法忍受罢工，如果我愿意的话，我会抹黑你，并把你的位置弄成一个灰尘碗。”
Tom Sito, Writer: : All his testimony was focused on the union leaders.
汤姆·西托（Tom Sito），作家：：他的所有证词都集中在工会领导人身上。
It wasn't just politically who's a Commie, or who's -- politically who's left or who's right.
这不仅仅是政治上谁是共产党，或者谁是——政治上谁是左派或谁是右派的问题。
It was all the union leaders.
都是工会领导人。
Neal Gabler, Biographer: : The HUAC testimony is 1947.
Neal Gabler，传记作者：：HUAC 的证词是 1947 年。
The strike is 1941.
罢工发生在1941年。
So we're talking a six-year period.
所以我们谈论的是六年期限。
But I think it goes to show just how long Walt holds a grudge, which is forever.
但我认为这表明沃尔特的怨恨持续了多久，而且是永远的。
Tom Sito, Writer: : He basically had this narrative in his mind of how he saw the way things happened.
汤姆·西托（Tom Sito），作家：：他脑子里基本上有这样的叙述，讲述他如何看待事情发生的方式。
And that's when he decried that Sorrell was a Communist.
就在那时，他谴责索雷尔是共产党员。
Walt Disney (archival): : ...called them all a bunch of Communists, and I believe they are.
沃尔特·迪士尼（档案）：：……称他们为一群共产主义者，我相信他们是。
Tom Sito, Writer: : He couldn't actually prove he was a Communist.
汤姆·西托（Tom Sito），作家：：他实际上无法证明自己是共产党员。
He just said, "I don't know if he's a Communist or not but he probably is."
他只是说：“我不知道他是不是共产党员，但他很可能是。”
Walt Disney (archival): : 'You think I'm a communist, don't you?' And I told him, that 'All I knew is what I'd heard and what I'd seen.'
沃尔特·迪士尼（档案）：“你认为我是共产主义者，不是吗？”我告诉他，“我所知道的只是我所听到的和我所看到的。”
Narrator: : Disney and other friendly witnesses like Ronald Reagan and Gary Cooper won plaudits for their performance and provided cover for the studio bosses' next move, which was intended to crush labor union activists.
旁白：迪士尼和罗纳德·里根和加里·库珀等其他友好见证人的表演赢得了喝彩，并为制片厂老板的下一步行动提供了掩护，旨在镇压工会积极分子。
Eric Smoodin, Film Historian: : The black list is designed to rid the industry of Leftists.
电影史学家埃里克·斯穆丁（Eric Smoodin）：：黑名单旨在清除电影行业中的左派分子。
And in fact it says that the studios would themselves agree not to hire anyone who was understood to be, alleged to be, a Communist.
事实上，它表示制片厂本身会同意不雇用任何被认为是、据称是共产党员的人。
So, Disney is not responsible for this but he's part of a movement that produces it.
因此，迪士尼对此不负有责任，但他是产生这种情况的运动的一部分。
It means that any number of people lose their means of making a living.
这意味着许多人失去了谋生手段。
And so it, in effect, ruins careers.
因此，它实际上毁掉了职业生涯。
Narrator: : Walt Disney beat a hasty retreat from the political battlefield after his public testimony.
旁白：：沃尔特·迪士尼在公开作证后匆忙退出政治战场。
He had no stomach for an on-going fight over ideology, and no interest.
他不喜欢持续不断的意识形态之争，也没有兴趣。
He just wanted to get back to work.
他只是想回去工作。
Reporter (archival audio): : "Mr. Disney, wh- give me some more details of your leprechaun hunt."
记者（档案音频）：“迪士尼先生，请给我一些关于您的小妖精狩猎的更多细节。”
Walt Disney (archival): : "I just hope that I can find that leprechaun with the pot of gold, because I could really use that in Hollywood with the cost of production going up the way it is."
沃尔特·迪士尼（档案）：“我只是希望我能找到那个带着第一桶金的小妖精，因为我真的可以在好莱坞使用它，而制作成本却在上涨。”
Narrator: : Disney was producing more than ever by 1948, but he was all over the map, in search of the studio's next big thing.
旁白： 到 1948 年，迪士尼的制作量比以往任何时候都多，但他却四处奔走，寻找工作室的下一件大事。
He traveled to England to launch a series of live-action films starting with the pirate story Treasure Island .
他前往英国拍摄了一系列真人电影，从海盗故事《金银岛》开始。
He made others in the U.S., including So Dear to My Heart , a nostalgic look at turn-of-the-century small town America.
他在美国制作了其他作品，包括《如此亲爱的我的心》，这是对世纪之交美国小镇的怀旧视角。
He spent a week holed up in a hotel room in New York watching television, to see if there was anything to be done in the new medium.
他在纽约的一家酒店房间里躲了一周看电视，看看新媒体是否有什么可做的。
He took his daughter Sharon on a trip to Alaska, scene of his first attempt at making a nature documentary, Seal Island .
他带着女儿莎伦去阿拉斯加旅行，这是他第一次尝试制作自然纪录片《海豹岛》的场景。
Don Hahn, Animator: : If Disney's going to make nature movies, he has to do what he does naturally.
动画师唐·哈恩 (Don Hahn)：如果迪士尼要制作自然电影，他就必须做他自然做的事。
Walt Disney tells stories.
沃尔特·迪士尼讲故事。
So he looks at this thousand feet of footage for seals, and to him he's looking for, "Oh, well, that's the mom seal, and that's the daughter seal.
所以他看着这千英尺长的海豹镜头，对他来说，他正在寻找，“哦，好吧，那是海豹妈妈，那是海豹女儿。
And that's the bad guy seal, and they fight later on.
那就是坏人海豹，他们后来打起来了。
They should fight.
他们应该战斗。
If you don't have that footage, go out and shoot it." And he turns it into a narrative.
如果你没有那个镜头，那就出去拍摄吧。”他把它变成了一个叙述。
Narrator, Seal Island (archival): : Since no one else will nurse him, let's hope mother comes home soon, for if anything has happened to her, this pup will surely die.
解说员，海豹岛（档案）：：既然没有人会照顾他，我们希望妈妈早点回家，因为如果她出了什么事，这只小狗肯定会死。
There are no orphans on Seal Island.
海豹岛上没有孤儿。
Don Hahn, Animator: : So to him it's a way of getting an animated film, but out of live footage.
唐·哈恩（Don Hahn），动画师：：所以对他来说，这是制作动画电影的一种方式，但不是用现场镜头。
Narrator, Seal Island (archival): : Yes, here they are at last.
旁白，海豹岛（档案）：：是的，他们终于来了。
Right on schedule.
正按计划进行。
Swimming and diving playfully, as though glad their journey is over.
顽皮地游泳和潜水，好像很高兴他们的旅程结束了。
But they don't seem in any great hurry to go ashore.
但他们似乎并不急于上岸。
Don Hahn, Animator: : He has to diversify.
Don Hahn，动画师：：他必须多元化。
He has no money.
他没有钱。
They're really cheap to shoot.
拍摄起来确实很便宜。
I mean the seals don't go on strike.
我的意思是海豹突击队不会罢工。
Narrator, Seal Island (archival): : Having a final fling of single blessedness.
旁白，海豹岛（档案）：：拥有最后的单身幸福。
Narrator: : Seal Island won an Academy Award, and launched Disney's new and profitable line of nature documentaries -- True Life Adventures .
旁白：《海豹岛》获得了奥斯卡金像奖，并推出了迪士尼全新且盈利的自然纪录片系列——《真实生活历险记》。
But Walt missed the excitement of feature animation, and by 1949 he was ready to start anew.
但沃尔特错过了动画长片的兴奋，到 1949 年，他准备重新开始。
Roy balked -- too expensive, too risky, he said -- and the brothers fought an epic, screaming battle.
罗伊犹豫了——他说太昂贵、太冒险——兄弟俩展开了一场史诗般的、尖叫的战斗。
Walt gave Roy an ultimatum: find the money for animated features, or sell off the business.
沃尔特给罗伊下了最后通牒：找到资金制作动画电影，或者卖掉公司。
Roy walked out on him.
罗伊从他身边走了出去。
"You're letting this place drive you nuts," he said on his way out.
“你让这个地方让你发疯了，”他在出去的路上说道。
"That's one place I'm not going with you."
“那是我不会和你一起去的地方。”
Roy did eventually relent to Walt's desire, as always, and agreed to raise the $2 million they needed for a new animated feature -- Cinderella .
罗伊最终一如既往地满足了沃尔特的愿望，并同意为一部新的动画长片《灰姑娘》筹集所需的 200 万美元。
But once production on the new film was up and running, Disney was uncharacteristically distant from his studio's signature undertaking.
但当新电影的制作开始并投入运行后，迪士尼却一反常态地远离了其工作室的标志性事业。
That old Snow White feeling of excitement and new possibilities eluded Walt.
沃尔特不再有那种旧时白雪公主般的兴奋感和新的可能性。
He seemed wary of fully investing himself in the film, and left most of the hard work to his staff.
他似乎对将自己全部投入到这部电影中持谨慎态度，并将大部分艰苦的工作留给了他的员工。
Nearing 50, Disney was also beginning to wear down, and so precipitously that he made sure to keep a trained nurse on the studio payroll.
年近 50 岁的迪士尼也开始疲惫不堪，而且速度如此之快，以至于他确保在工作室的工资单上保留一名训练有素的护士。
Hazel George came to Walt's office every afternoon at five to give him heat treatment for his back, a Scotch mist or two, and a friendly ear.
哈泽尔·乔治每天下午五点来到沃尔特的办公室，为他的背部进行热疗，喷一两杯苏格兰雾气，并友善地倾听他的耳朵。
Rolly Crump, Imagineer: : She was a very pleasant lady.
Rolly Crump，幻想工程师：：她是一位非常令人愉快的女士。
Walt, because he had hurt himself playing polo, almost every night or every other night he would go to Hazel and she would, she'd massage his back and his hips because he was in great pain.
沃尔特，因为他打马球弄伤了自己，几乎每天晚上或每隔一个晚上，他都会去找黑兹尔，她也会按摩他的背部和臀部，因为他非常痛苦。
Neal Gabler, Biographer: : Hazel George becomes one of those very few figures in his entire life to whom he can talk.
传记作者尼尔·加布勒：黑兹尔·乔治成为他一生中极少数可以与之交谈的人物之一。
It wasn't a sexual relationship; it wasn't anything like that, but she was someone to whom he could say anything and everything, and he could say it in confidence.
这不是性关系；而是性关系。不是那样的，但她是一个他可以说任何话的人，而且他可以放心地说。
Steven Watts, Historian: : He's very famous.
史蒂文·瓦茨（Steven Watts），历史学家：：他非常有名。
He's very powerful.
他非常强大。
He absolutely runs the show.
他绝对掌控一切。
But it's difficult to say, if Walt Disney had any close, close friends, bosom companions that he could really talk to and share things with.
但很难说沃尔特·迪士尼是否有任何亲密的、亲密的朋友、知己可以真正与之交谈和分享。
Neal Gabler, Biographer: : Walt Disney is at low ebb.
传记作者尼尔·加布勒：沃尔特·迪士尼正处于低潮。
He said, "I realize that I'm never going to make anything as good as Snow White ." When you think of Walt Disney as the guy who's always looking at the next horizon, the guy who is always trying to break a new path, the guy who's lived for excellence.
他说：“我意识到我永远无法做出像白雪公主一样好的作品。”当你认为华特迪士尼是一个总是放眼未来的人，一个总是试图开辟新道路的人，一个追求卓越的人。
And then he can say, not only to himself but publicly, "I'm never going to make anything as good as Snow White ." You want to hear a man in crisis?
然后他不仅可以对自己而且可以公开地说：“我永远不会做出像白雪公主一样好的东西。”你想听一个处于危机中的人吗？
That's a man in crisis.
那是一个陷入危机的人。
Narrator: : In the fall of 1948, as he had done nearly two decades earlier, Walt followed doctor's orders and departed on a vacation.
旁白： 1948 年秋天，正如近二十年前所做的那样，沃尔特遵照医生的指示出发去度假。
Hazel George, who had seen the enormous new toy train layout Walt had installed in his private office, had suggested he take a trip to a railroad convention in Illinois.
哈泽尔·乔治看到了沃尔特在他的私人办公室安装的巨大的新玩具火车布局，建议他去伊利诺伊州参加一个铁路会议。
Walt had invited a fellow train enthusiast to travel with him.
沃尔特邀请了一位火车爱好者和他一起旅行。
"Goddammit, you have more fun than anybody I know," Disney told animator Ward Kimball.
“该死的，你比我认识的任何人都有趣，”迪士尼告诉动画师沃德·金博尔。
As the two men rode the rails drinking Scotch mists, Walt regaled Ward with his life story -- from Marceline to Hollywood.
当两个人沿着铁轨喝着苏格兰薄雾时，沃尔特向沃德讲述了他的人生故事——从玛瑟琳到好莱坞。
By the time they arrived in Chicago, Disney was giddy.
当他们到达芝加哥时，迪士尼已经头晕目眩了。
Steven Watts, Historian: : It's Disney returning to his roots.
史蒂文·沃茨（Steven Watts），历史学家：：迪士尼回归了他的根源。
The train is something that he associates with his childhood, with growing up where the railroad ran next to his house right through the center of Marceline.
他将火车与他的童年联系在一起，在他的成长过程中，铁路就在他家旁边，穿过马塞林市中心。
The train is something he associates with that vanished age of his childhood.
他将火车与他那已逝去的童年联系在一起。
Narrator: : Disney arrived home with a new obsession, having his own large-scale model train -- and he ordered one built at the studio in Burbank.
旁白：迪士尼带着新的痴迷回到家乡，拥有自己的大型火车模型，并在伯班克的工作室订购了一个。
He made it his business to stop by the studio machine shop most days, just to check in on the progress.
大多数时候，他都会去工作室机械车间，检查进度。
He was soon spending three or four hours at a time in the shop, and then more hours in the evening, and then all day on Saturday.
很快他就一次在店里待了三四个小时，然后晚上又待了更多时间，然后周六一整天。
The head machinist had assigned Disney his own bench and toolset by then, and put him to work.
那时，首席机械师已经为迪士尼分配了自己的工作台和工具组，并让他开始工作。
Neal Gabler, Biographer: : Walt Disney was building these trains with his own hands.
传记作者尼尔·加布勒：沃尔特·迪士尼亲手建造了这些火车。
Manual labor.
体力劳动。
The great Walt Disney was now devoting his energies to toy trains.
伟大的沃尔特·迪士尼现在将精力投入到玩具火车上。
Narrator: : When a film critic from the New York Times visited during production on Cinderella , he found Disney, as he wrote, "wholly, almost weirdly, concerned with the miniature railroad engine and his cars.
旁白：当《纽约时报》的一位影评人在《灰姑娘》制作期间参观时，他发现迪士尼，正如他所写的那样，“完全、近乎奇怪地关注微型铁路发动机和他的汽车。
All of his zest for invention, for creating fantasies, seemed to go into this plaything."
他对发明、创造幻想的所有热情似乎都融入到了这个玩具中。”
When Walt's oft-neglected progeny, Cinderella , finally premiered at the beginning of 1950, critics hailed it as the long-awaited return of the classic Disney form and a must-see.
当沃尔特经常被忽视的后代《灰姑娘》终于在 1950 年初首映时，评论家们称赞它是期待已久的经典迪士尼形式的回归，是一部必看的作品。
Fairy Godmother, Cinderella (archival): : Now, let's see dear.
仙女教母灰姑娘（档案）：：现在，让我们看看亲爱的。
Your size and shade of your eyes.
您眼睛的大小和颜色。
Mmhm.
嗯。
Something simple, but daring too!
事情很简单，但也很大胆！
Just leave it to me; what a gown this will be!
就交给我吧；这将是一件多么好的礼服啊！
Bippity-boppity, bippity-boppity, bippity-boppity-boo!
Bippity-boppity，bippity-boppity，bippity-boppity-boo！
Narrator: : Roy optimistically told Walt that Cinderella would gross five or six million after those first reviews.
旁白：罗伊乐观地告诉沃尔特，《灰姑娘》在第一次评论后将获得五六百万美元的票房。
It made nearly eight million.
赚了将近八百万。
Cinderella, Cinderella (archival): : It's like a dream.
灰姑娘，灰姑娘（档案）：：就像一场梦。
A wonderful dream come true!
美好的梦想成真了！
Narrator: : Walt was happy to have the financial cushion the film provided his studio, and happy to have the good reviews, but he saw all the movie's imperfections, and every corner cut.
旁白：沃尔特很高兴电影为他的工作室提供了财务缓冲，也很高兴获得好评，但他看到了电影的所有缺陷和每一个角落。
It was no Snow White , as far as he was concerned.
就他而言，这不是白雪公主。
His interest remained elsewhere.
他的兴趣还在别处。
Steven Watts, Historian: : He builds a scale model of the old Marceline barn out behind his house, in the middle of Holmby Hills.
史蒂文·瓦茨 (Steven Watts)，历史学家：：他在霍尔姆比山中部的房子后面建造了旧马塞琳谷仓的比例模型。
And he's out there in overalls and a flannel shirt and a train engineer hat, just monkeying around for hours with designing the track and building the engine.
他穿着工作服、法兰绒衬衫、戴着火车工程师的帽子，花了几个小时设计轨道和建造发动机。
Richard Schickel, Writer: : It was funny, you know, you would see those pictures of him with his train, you know, "ch-ch-ch-ch" train that went around his house, and I think there was pleasure in that for him.
编剧理查德·希克尔：这很有趣，你知道，你会看到他和他的火车的照片，你知道，“ch-ch-ch-ch”火车绕着他的房子转，我认为这对他来说是一种乐趣。
It was the toy he never had as a little kid.
这是他小时候从未拥有过的玩具。
Something that was just pure fun and pleasure for him to do.
对他来说，这件事纯粹是有趣和快乐的事。
Narrator: : There was more in that train than just fun and games for Walt.
旁白：：对于沃尔特来说，火车上有的不仅仅是乐趣和游戏。
When Salvador Dali made a visit to Walt's house, the famous painter understood what Walt was up to: Disney was seeking an ideal, and Dali was taken aback at the ambition of it.
当萨尔瓦多·达利拜访沃尔特的家时，这位著名画家明白了沃尔特的意图：迪士尼正在寻求一个理想，达利对其雄心壮志感到惊讶。
"Such perfection," the surrealist told Walt, "did not belong to models!"
“这样的完美，”这位超现实主义者告诉沃尔特，“不属于模特！”
Nancy Koehn, Historian: : It's comfort and salvation and a working surface for the disappointments and confusions that comes to him in that period of his life.
南希·科恩（Nancy Koehn），历史学家：：这是安慰和救赎，也是他在人生的那个时期遇到的失望和困惑的工作表面。
"I can't control my workers, it turns out.
“事实证明，我无法控制我的员工。
I can't control the larger stage right now.
我现在无法掌控更大的舞台。
I can't even completely control my company.
我什至无法完全控制我的公司。
So here's a world I can recreate down to the smallest detail, down to tunnels under my wife's flower bed, that is mine, and perfect, and brought to life and safe."
所以这是一个我可以重现的世界，甚至是最小的细节，甚至是我妻子花坛下的隧道，那是我的，完美的，充满生机和安全。”
Narrator: : Lillian Disney could sense something big brewing in early 1952.
旁白：：莉莲·迪士尼 (Lillian Disney) 可以感觉到 1952 年初有大事正在酝酿。
"It was one of those moments," she would say, "when Walt's imagination was going to take off into the wild blue yonder, and everything will explode." Walt, Lillian noted, was liquidating long-held family assets.
“那是那些时刻之一，”她说，“沃尔特的想象力将飞向那边的狂野蓝色，一切都会爆炸。”莉莲指出，沃尔特正在清算长期持有的家族资产。
Her husband sold their Palm Springs vacation home and borrowed $100,000 against his life insurance policy.
她的丈夫卖掉了他们在棕榈泉的度假屋，并以人寿保险为抵押借了 10 万美元。
He even sold rights to his own name , to Walt Disney Productions.
他甚至将自己名字的版权出售给华特迪士尼制作公司。
Then he started an entirely new company, for an entirely new enterprise.
然后他创办了一家全新的公司，一家全新的企业。
Steven Watts, Historian: : He gets a little building, the back part of the studio lot, and he creates this organization called WED, which were his initials: Walter Elias Disney.
史蒂文·瓦茨 (Steven Watts)，历史学家：：他在工作室后面建了一座小建筑，并创建了这个名为 WED 的组织，这是他名字的首字母缩写：沃尔特·埃利亚斯·迪士尼 (Walter Elias Disney)。
Neal Gabler, Biographer: : "I'll get a few guys, just like we did when we were making Mickey Mouse, and we'll come up with some ideas." So that's what WED is.
传记作者尼尔·加布勒（Neal Gabler）：“我会找一些人，就像我们制作米老鼠时那样，我们会提出一些想法。”这就是WED。
WED is the old days.
星期三是过去的日子。
Narrator: : Walt Disney had one very specific vision in mind, and he had already drawn up plans for building this new project, on a vacant lot he owned next to his studio.
旁白：沃尔特·迪士尼心中有一个非常具体的愿景，他已经制定了在工作室旁边的一块空地上建设这个新项目的计划。
Disney had actually been kicking around the idea for years.
事实上，迪士尼多年来一直在考虑这个想法。
Alice M.
爱丽丝·M。
Davis, Costume Designer: : When he had his girls and they were very young, he wanted to take them to places they would have fun, but every time he'd go to see a carnival or something else, the men were all filthy dirty looking, and the place was filthy.
戴维斯，服装设计师：当他有了女儿的时候，她们还很小，他想带她们去她们好玩的地方，但每次他去看嘉年华或其他什么的时候，男人们都长得脏兮兮的，而且那个地方也很肮脏。
And he said, "I want a place where people can take a family and have a good time." Whenever he thought of something, it kept getting bigger and bigger and bigger.
他说：“我想要一个人们可以带着家人一起度过美好时光的地方。”每当他想到某件事时，它就会变得越来越大。
Narrator: : Disney first dubbed the park "Mickey Mouse Village," but then hit on "Disneyland." By the end of 1952, the plans for Disneyland had outgrown the little eight-acre lot next to his studio.
旁白：迪士尼最初将该公园称为“米老鼠村”，但后来又命名为“迪士尼乐园”。到 1952 年底，迪士尼乐园的规划已经超出了他工作室旁边的 8 英亩小土地的规模。
He started culling talent from the Disney production team and sending them to WED.
他开始从迪士尼制作团队中挑选人才，并将他们送到 WED。
"I want you to work on Disneyland," he told one slightly confused layout artist, "and you're going to like it."
“我希望你在迪士尼乐园工作，”他对一位有点困惑的布局艺术家说，“你会喜欢它的。”
Neal Gabler, Biographer: : Roy thinks it's a nutty idea.
传记作者尼尔·加布勒：罗伊认为这是一个疯狂的想法。
"An amusement park?
“游乐园？
No. An amusement park that's going to cost tens of millions of dollars, you know, it's not going to work."
不，一个要花费数千万美元的游乐园，你知道，这是行不通的。”
Susan Douglas, Media Historian: : Amusement parks were carnival-esque places.
苏珊·道格拉斯（Susan Douglas），媒体历史学家：：游乐园是嘉年华式的地方。
These were places where you went to have your sensations stimulated by very, very fast rides, by carnival barkers inviting you in to see Tom Thumb or the Giant Lady.
在这些地方，你可以通过非常非常快的游乐设施、邀请你去看大拇指汤姆或巨人女士的嘉年华叫卖者来刺激你的感觉。
These were places where you went to have the rules not apply.
这些是你去的地方，规则不适用。
Marty Sklar, Writer: : When Walt told Mrs. Disney that he was going to start a park, she said, "Why would you want to do that?
马蒂·斯克拉（Marty Sklar），作家：当沃尔特告诉迪士尼夫人他要开办一个公园时，她说：“你为什么要这么做？
They're not safe.
他们不安全。
The people in them are not people you want to be around." And Walt said, "Mine's not going to be like that."
他们里面的人不是你想要的人。”沃尔特说：“我的不会是这样的。”
Narrator: : Disney's newest notion was not unlike his very first commercially-successful idea.
旁白：迪士尼的最新想法与他第一个在商业上取得成功的想法没有什么不同。
Just as he had inserted the real Alice into a cartoon world, Walt thought he could put real people inside a new adventure -- live, and three-dimensional.
正如他将真实的爱丽丝放入卡通世界一样，沃尔特认为他可以将真实的人放入新的冒险中——现场的、三维的。
He would construct the make-believe world for them, just as he had constructed his railroad.
他将为他们建造一个虚构的世界，就像他建造自己的铁路一样。
Ron Suskind, Writer: : This is a leap-from-the-tub, eureka, run-down-the-street" moment here.
罗恩·苏斯金德（Ron Suskind），编剧：：这是一个“从浴缸里跳出来，发现了，破烂不堪”的时刻。
Just think about that.
想想看。
"I am going to take what these movies have done, these landscapes that we've invented that are just drawings on paper and colored pencils, I'm going to create a place where you can actually walk within it." This is kicking down many walls of perspective and reality.
“我将借鉴这些电影所做的事情，我们发明的这些风景只是纸上和彩色铅笔上的图画，我将创造一个你可以真正在其中行走的地方。”这打破了许多观点和现实的障碍。
Neal Gabler, Biographer: : Disney has this great idea for building Disneyland.
传记作者尼尔·加布勒：迪士尼有一个建造迪士尼乐园的好主意。
Now, one problem: Where's the money going to come from?
现在有一个问题：钱从哪里来？
Walt Disney, One Hour in Wonderland (archival): : So you see this is the result of being a good boy for 30 years.
沃尔特·迪士尼，《仙境一小时》（档案）：：所以你看，这是做了 30 年好孩子的结果。
Santa finally came across.
圣诞老人终于出现了。
See the little trolley in there?
看到里面的小推车了吗？
See that thing there.
看到那里的那个东西。
This up here, this is the whistle.
这里，这是哨子。
Narrator: : Disney had been looking for the best way to exploit the new medium of television since the late 1940s.
旁白：：自 20 世纪 40 年代末以来，迪士尼一直在寻找利用新电视媒体的最佳方式。
He had even taken it for a test drive in 1950, hosting a one-off Christmas special, One Hour in Wonderland , to promote one of his films.
1950 年，他甚至曾试驾过这辆车，并主持了一场一次性的圣诞特别节目《仙境一小时》，以宣传他的一部电影。
The Disney program drew 90 percent of the viewing audience and gushing reviews.
迪士尼节目吸引了百分之九十的观众和好评如潮。
"Walt Disney can take over television any time he likes," The New York Times suggested.
“沃尔特·迪士尼可以随时接管电视，”《纽约时报》建议道。
Walt Disney, One Hour in Wonderland (archival): : You kids help me with the magic words.
沃尔特·迪士尼，《仙境一小时》（档案）：：你们孩子们帮我用魔法词。
Bippity-Boppity-Boo!
Bippity-Boppity-Boo！
Narrator: : The three major networks had been asking Disney for more shows ever since, and by the summer of 1953, Walt was hot to make a deal.
旁白：：从那时起，三大电视网一直要求迪士尼提供更多节目，到 1953 年夏天，沃尔特迫不及待地想要达成协议。
Roy traveled to New York to make an offer to each of the major television networks.
罗伊前往纽约向各大电视网络发出报价。
The Disneys were willing to produce a weekly show, but for a price: the network that got the show would have to provide much of the $5 million the brothers needed for the construction of Disneyland.
迪士尼愿意制作每周一次的节目，但要付出一定的代价：获得该节目的电视网必须提供兄弟俩建造迪士尼乐园所需的 500 万美元中的大部分。
Just two days before the pitch meetings, on a Saturday, Roy decided he needed a sales tool that didn't yet exist: a drawing of the entire park.
就在推介会议前两天的一个星期六，罗伊决定他需要一种尚不存在的销售工具：整个公园的图画。
Disneyland, at that point, was still largely in Walt's head, and his head alone.
那时，迪士尼乐园很大程度上仍在沃尔特的脑海中，而且只有他一个人。
Roy called Walt, and Walt called an old Disney art director and begged him to help -- "like a little boy with tears in his eyes," Herb Ryman recalled.
罗伊打电话给沃尔特，沃尔特打电话给一位老迪士尼艺术总监，恳求他帮忙——“就像一个眼里含着泪水的小男孩，”赫伯·莱曼回忆道。
Walt stayed at Ryman's side for more than 42 hours straight, delivering him sandwiches and milkshakes, and describing what he wanted through billows of cigarette smoke.
沃尔特连续在莱曼身边呆了超过 42 个小时，给他送三明治和奶昔，并在滚滚香烟烟雾中描述他想要什么。
Don Hahn, Animator: : So Walt can stand there and direct him around and say, "No, now make the castle bigger, and let's put a Frontierland over here, and maybe there's going to be an Indian village, and direct the orchestra." It's like Walt can stand there and go, "A little more viola, please," and have Herb Ryman lay out this whole plan.
唐·哈恩（Don Hahn），动画师：这样沃尔特就可以站在那里指挥他周围并说：“不，现在把城堡变得更大，让我们在这里放一个边境之地，也许会有一个印第安村庄，然后指挥管弦乐队。”就像沃尔特可以站在那里说，“请再多一点中提琴”，然后让赫伯·莱曼制定整个计划。
Narrator: : The two men put the drawing on a plane that Monday, but Roy still had a hard time sealing the deal.
旁白：：周一，两人将画作送上了飞机，但罗伊仍然很难达成协议。
NBC and CBS had no interest in putting up the money for something called Disneyland.
NBC 和 CBS 没有兴趣为迪士尼乐园提供资金。
It took Roy months to convince the perennial third-place network, ABC, to take the bait.
罗伊花了几个月的时间才说服常年排名第三的美国广播公司上钩。
Walt later joked, "ABC needed the television show so damned bad that they bought the amusement park."
沃尔特后来开玩笑说：“美国广播公司非常需要这个电视节目，所以他们买下了这个游乐园。”
Richard Schickel, Writer: : That was a probably pretty dangerous moment for him, corporately-speaking.
理查德·希克尔（Richard Schickel），作家：从公司角度来说，这对他来说可能是一个非常危险的时刻。
Will it be a success?
会成功吗？
Will it be a failure?
会失败吗？
If it's a failure, you know, the whole company is kind of on the line.
如果失败了，你知道，整个公司都会面临风险。
Carmenita Higginbotham, Art Historian: : He saw this as his personal statement about who he was, who the Walt Disney company was, and who he thought America was.
卡梅尼塔·希金博特姆 (Carmenita Higginbotham)，艺术史学家：：他将此视为他的个人陈述，关于他是谁、华特迪士尼公司是谁以及他认为美国是谁。
He believed in this so strongly.
他如此坚信这一点。
Narrator: : Disney's plans for the 160-acre building site in Anaheim, California, called for 5,000 cubic yards of concrete, a million square feet of asphalt pathways and acres of flowers and greenery.
旁白：迪士尼计划在加利福尼亚州阿纳海姆建造 160 英亩的建筑工地，需要 5,000 立方码的混凝土、100 万平方英尺的沥青道路以及数英亩的花卉和绿化。
The designs included a three-quarters scale replica of an 1890s Main Street, suspiciously similar to Walt's memories of Marceline, man-made riverbeds for the steamboat in Frontierland and the Jungle Cruise in Adventureland, and a Bavarian-style castle towering 80 feet above Fantasyland.
这些设计包括 1890 年代主街的四分之三比例复制品（与 Walt 对 Marceline 的记忆极其相似）、Frontierland 中汽船和 Adventureland 中丛林游轮的人造河床，以及一座高耸于幻想世界 80 英尺的巴伐利亚风格城堡。
There were also plans for more than a mile of narrow-gauge railroad track ringing the park, and beyond that, a 20-foot high berm, so that the real world could not intrude.
还计划修建一英里多的窄轨铁轨环绕公园，除此之外，还有一条 20 英尺高的护堤，这样现实世界就无法侵入。
Bob Gurr, Designer: : The first time I ever saw Disneyland, it was a great big dusty place full of bulldozers and orange trees being knocked down and concrete forms being built.
Bob Gurr，设计师：：我第一次看到迪士尼乐园时，那是一个尘土飞扬的大地方，到处都是推土机，橘子树被推倒，混凝土模板正在建造。
And when I first saw it, I thought, "We're going to open in six months?
当我第一次看到它时，我想，“我们将在六个月内开业？
How in the world are they ever going to do this?"
他们到底怎么会这么做呢？”
Narrator: : The desire for escape and amusement was growing in mid-50s America, and more and more people had the means of pursuit.
旁白：：50年代中期的美国，人们对逃避和娱乐的渴望日益高涨，越来越多的人拥有了追求的手段。
Americans were fanning out into the suburbs.
美国人纷纷涌向郊区。
More families than ever before had a television set in the living room, and extra cash in the family paycheck for entertainment, travel, toys.
客厅里拥有电视机的家庭比以往任何时候都多，家庭工资中还有额外的现金用于娱乐、旅行、玩具。
The biggest generation America had ever seen -- the Baby Boomers -- had reached school age.
美国历史上人数最多的一代人——婴儿潮一代——已经到了上学的年龄。
These children were not yet old enough to drive the family car, but they were old enough to drive family spending.
这些孩子还没有到可以驾驶家庭汽车的年龄，但他们已经到了可以推动家庭支出的年龄。
Susan Douglas, Media Historian: : These kids are eight and nine years old.
苏珊·道格拉斯（Susan Douglas），媒体历史学家：：这些孩子分别是八岁和九岁。
And they're looking for a kind of set of cultural values that are a bit different from the privations of the Depression and the war.
他们正在寻找一套与大萧条和战争时期的贫困有所不同的文化价值观。
TV Announcer, Disneyland (archival): : American Motors, builders of Nash Automobiles, Kelvinator home appliances and Hudson Motor Cars...
迪士尼乐园电视播音员（档案）：：美国汽车公司、纳什汽车公司、Kelvinator 家用电器和 Hudson 汽车公司的制造商...
Present Walt Disney's Disneyland !
呈现华特迪士尼的迪士尼乐园！
Jiminy Cricket, Disneyland (archival): : When you wish upon a star, makes no difference who you are.
Jiminy Cricket，迪士尼乐园（档案）：：当你向星星许愿时，你是谁并不重要。
TV Announcer, Disneyland (archival): : Each week as you enter this timeless land, one of these many worlds will open to you.
迪士尼乐园电视播音员（档案）： ：每周当您进入这片永恒的土地时，众多世界之一都会向您敞开。
Here now to tell you about it is Walt Disney.
现在要向您介绍的是沃尔特·迪士尼。
Walt Disney, Disneyland (archival): : Welcome.
沃尔特·迪士尼，迪士尼乐园（档案）：：欢迎。
I guess you all know this little fellow here.
我想你们都认识这个小家伙。
It's an old partnership.
这是一个老伙伴关系了。
Marty Sklar, Writer: : I think he was one of the great salesmen of our time because he never tried to sell something he didn't personally believe in.
马蒂·斯克拉（Marty Sklar），作家：我认为他是我们这个时代最伟大的推销员之一，因为他从未试图推销他个人不相信的东西。
Walt Disney, Disneyland (archival): : Now we want you to share with us, our latest and greatest dream.
沃尔特·迪士尼，迪士尼乐园（档案）：：现在我们希望您与我们分享我们最新、最伟大的梦想。
That's it, right here -- Disneyland!
就是这样，就在这里——迪士尼乐园！
Seen from about 2,000 feet in the air and 10 months away.
从大约 2,000 英尺高空、10 个月外拍摄。
Neal Gabler, Biographer: : Now, Walt Disney is creating anticipation for Disneyland.
传记作者尼尔·加布勒：现在，沃尔特·迪士尼正在为迪士尼乐园创造期待。
And he's making people feel -- particularly children --, "This is the most magical place.
他让人们——尤其是孩子们——感到，“这是最神奇的地方。
You have to come here." He makes it a destination.
你必须来这里。”他把这里作为目的地。
Walt Disney, Disneyland (archival): : We hope that through our television show that you will join us and take part in the building of Disneyland, and that you will find here a place of knowledge and happiness.
华特迪士尼，迪士尼乐园（档案）：：我们希望通过我们的电视节目，您能加入我们，参与迪士尼乐园的建设，并在这里找到一个知识和幸福的地方。
Sarah Nilsen, Film Historian: : He was very humble, and open, and seemed very accessible.
莎拉·尼尔森（Sarah Nilsen），电影史学家：：他非常谦虚、开放，而且看起来很平易近人。
At the same time he'd never condescend.
同时他也绝不会居高临下。
He always talked to children as peers, as equals.
他总是像同龄人、平等的人一样与孩子们交谈。
Carmenita Higginbotham, Art Historian: : Walt becomes the master of dreams and hopes, not in a off-putting way, not in a way that feels unrelateable.
Carmenita Higginbotham，艺术史学家：：沃尔特成为梦想和希望的主人，不是以一种令人反感的方式，也不是以一种感觉不相关的方式。
Walt Disney, Disneyland (archival): : Now at the foot of Main Street, about where you're sitting, is the plaza.
沃尔特·迪士尼 (Walt Disney)，迪士尼乐园（档案）： ：现在，在主街脚下，大约您所坐的地方，就是广场。
Carmenita Higginbotham, Art Historian: : He's actually an individual who could make your dreams come true.
Carmenita Higginbotham，艺术史学家：：他实际上是一个可以让你梦想成真的人。
Walt Disney, Disneyland (archival): : Shooting out from here, like the four cardinal points...
沃尔特·迪士尼，迪士尼乐园（档案）：：从这里射击，就像四个基点......
Narrator: : The Disneyland TV show featured a different hour-long offering every week, each show mapped onto one of the four realms at the theme park Walt was building.
旁白：迪士尼乐园电视节目每周都会推出不同的长达一小时的节目，每个节目都映射到沃尔特正在建造的主题公园的四个领域之一。
Walt Disney, Disneyland (archival): : They are: Adventureland, Tomorrowland, Fantasyland, and Frontierland.
华特·迪士尼 (Walt Disney)、迪士尼乐园（档案）：：它们是：冒险世界、明日世界、幻想世界和边疆世界。
Narrator: : It was a Frontierland offering -- "tall tales and true from the legendary past" --- that became the talk of the schoolyard.
旁白：：这是一个边境之地的产品——“来自传奇过去的荒诞故事和真实故事”——成为校园里的话题。
Walt Disney, Disneyland (archival): : Now in our TV series from Frontierland, we're going to tell about these real people who became legend, like Davy Crockett.
沃尔特·迪士尼 (Walt Disney)，迪士尼乐园（档案）： ：现在，在 Frontierland 的电视剧中，我们将讲述这些成为传奇的真实人物，例如戴维·克罗克特 (Davy Crockett)。
Narrator: : Davy Crockett aired on three separate Wednesdays from December of 1954 to February of 1955.
旁白：戴维·克罗克特 (Davy Crockett) 从 1954 年 12 月到 1955 年 2 月在三个不同的星期三播出。
Narrator: : Children across the country fell hard for the larger-than-life frontiersman.
旁白：：全国各地的孩子们都深深地爱上了这位传奇的拓荒者。
Susan Douglas, Media Historian: : Davy Crockett was homespun, plain spoken, tough, enterprising.
苏珊·道格拉斯 (Susan Douglas)，媒体历史学家：戴维·克罗克特 (Davy Crockett) 朴素、朴实、坚韧、进取。
He was the rugged individual who triumphed over everything.
他是一个坚强的人，战胜了一切。
He really embodied a nostalgic, idealized view of American male values.
他确实体现了一种怀旧的、理想化的美国男性价值观。
Douglas Brode, Film Historian: : Davy Crockett is incredibly anti-authoritarian in a way no other western hero for kids were at that time.
电影史学家道格拉斯·布罗德 (Douglas Brode)：戴维·克罗克特 (Davy Crockett) 是一位令人难以置信的反独裁者，当时没有其他西方儿童英雄能够做到这一点。
When Davy Crockett arrives at Andrew Jackson's camp, the first thing he does is disobey orders.
当戴维·克罗克特到达安德鲁·杰克逊的营地时，他做的第一件事就是违抗命令。
Davy Crockett, Davy Crockett (archival): : Nothing much.
Davy Crockett，Davy Crockett（档案）：：没什么。
Dropped in to say goodbye.
顺便过来告别。
General Jackson, Davy Crockett (archival): : Goodbye?
杰克逊将军，戴维·克罗克特（档案）：：再见？
Where do you think you're going?
你认为你要去哪里？
Major, Davy Crockett (archival): : You're going after Red Stick with the rest of my command.
戴维·克罗克特少校（档案）：：你将用我剩下的命令追击红棍。
This war isn't over yet.
这场战争还没有结束。
Davy Crockett, Davy Crockett (archival): : I ain't quitting the war, me and my neighbors will be back directly.
戴维·克罗克特 (Davy Crockett)，戴维·克罗克特（档案）：：我不会退出战争，我和我的邻居会直接回来。
You see General, we only volunteered for 60 days and that's long since up.
你看，将军，我们只志愿了 60 天，而且已经很久了。
Catching Red Stick's likely take up the rest of the year.
捕捉红棒可能会占用今年剩余的时间。
We've gotta see our families is took care of before we start in on anything like that.
在我们开始做类似的事情之前，我们必须先确保我们的家人得到照顾。
Major, Davy Crockett (archival): : Desertion is a serious crime in the army, Crockett!
戴维·克罗克特少校（档案）：：在军队中，开小差是一种严重的犯罪行为，克罗克特！
Davy Crockett, Davy Crockett (archival): : I ain't quitting the war, I told you we's coming back.
戴维·克罗克特 (Davy Crockett)，戴维·克罗克特（档案）：：我不会退出战争，我告诉过你我们会回来。
Major, Davy Crockett (archival): : You're confined to this camp.
戴维·克罗克特少校（档案）：：你被限制在这个营地里。
That's an order!
这是命令！
Davy Crockett, Davy Crockett (archival): : My missus would worry about me.
戴维·克罗克特 (Davy Crockett)，戴维·克罗克特（档案）：：我的夫人会担心我。
Sorry, General.
对不起，将军。
Douglas Brode, Film Historian: : Disney films told children to emulate Davy Crockett and that means listen to your own inner self -- "Do not do what authoritarian figures tell you to do if you believe they're wrong."
电影史学家道格拉斯·布罗德 (Douglas Brode)：迪士尼电影告诉孩子们要效仿戴维·克罗克特 (Davy Crockett)，这意味着倾听自己的内心——“如果你认为专制人物告诉你的事情是错的，就不要去做。”
Steven Watts, Historian: : The ratings just went through the roof, and, as the serialized segments came on, they got bigger and bigger and bigger.
史蒂文·瓦茨（Steven Watts），历史学家：：收视率一路飙升，而且随着连续剧的播出，收视率变得越来越大。
Narrator: : By the time the third and final episode of Dave Crockett aired, a quarter of the entire American population was tuned in.
旁白：：当戴夫·克罗克特的第三集也是最后一集播出时，四分之一的美国人收看该节目。
Davy Crockett Theme Song (archival audio): : Born on a mountain top in Tennessee...
戴维·克罗克特主题曲（档案音频）：：出生在田纳西州的山顶......
Narrator: : The show's theme song became a number one hit record.
旁白： ：该剧的主题曲成为热门唱片。
Boys and girls across America were sporting coonskin caps, just like the one their hero wore.
美国各地的男孩和女孩都戴着浣熊皮帽，就像他们的英雄所戴的那样。
Davy Crockett Theme Song (archival audio): : Davy!
戴维·克罗克特主题曲（存档音频）：：戴维！
Davy Crockett, King of the Wild Frontier.
戴维·克罗克特，荒野边境之王。
Neal Gabler, Biographer: : The Davy Crockett series was one of those things that hits American culture in a way that only a handful of things ever hits American culture: Elvis Presley, the Beatles.
传记作者尼尔·加布勒 (Neal Gabler)：戴维·克罗克特 (Davy Crockett) 系列是影响美国文化的作品之一，只有少数作品能够影响美国文化：埃尔维斯·普雷斯利 (Elvis Presley)、披头士乐队 (The Beatles)。
You know, Davy Crockett was kind of like that.
你知道，戴维·克罗克特就是这样的人。
It was a sensation.
这是一种轰动。
Narrator: : Davy Crockett even proved a powerful pop culture symbol in the Cold War between the United States and the Soviet Union, a battle of ideologies -- fought with words, and pictures, and stories.
旁白：戴维·克罗克特甚至在美国和苏联之间的冷战中证明了它是一个强大的流行文化象征，这是一场意识形态之战——用文字、图片和故事进行战斗。
Steven Watts, Historian: : Davy Crockett's famous saying was, "Be sure you're right, and then go ahead." And I think that's what Americans wanted to think about themselves in the Cold War.
史蒂文·瓦茨，历史学家：戴维·克罗克特的名言是：“确保你是对的，然后继续前进。”我认为这就是美国人在冷战时期想要思考的自己。
"We're sure we're right, and by God, we're going to go ahead."
“我们确信我们是对的，上帝发誓，我们会继续前进。”
Neal Gabler, Biographer: : His animations created a perfect and artificial world.
传记作者尼尔·加布勒：：他的动画创造了一个完美的人造世界。
And what he was really doing is, he was making that material in Disneyland.
他真正做的是，他在迪士尼乐园制作这些材料。
He always thought of Disneyland as a living animation, a living movie.
他一直认为迪士尼乐园是一部活生生的动画、一部活生生的电影。
And he thought people would love to enter a film, not just watch it.
他认为人们会喜欢进入电影，而不仅仅是观看它。
Marty Sklar, Executive: : You're walking into the story.
马蒂·斯克拉（Marty Sklar），执行官： ：你正在走进这个故事。
And the things that we worked so hard -- and this was Walt -- that we worked so hard to avoid is letting people out of the story with discordant details: something out of the time period that doesn't work.
我们努力避免的事情——这是沃尔特——我们努力避免的事情是让人们从不和谐的细节中脱离故事：一些不合时宜的东西。
Even the trash cans in the parks are for that particular story, that theme.
甚至公园里的垃圾桶也是为了那个特定的故事、那个主题。
Narrator: : Walt was down in Anaheim almost every day.
旁白：沃尔特几乎每天都在阿纳海姆。
He would walk every inch of the construction site, barking orders: "Move that gazebo!
他会走遍建筑工地的每一寸地方，大声命令：“移动那个凉亭！
It's blocking the view of the castle.
挡住了城堡的视线。
Can we make that lake bigger?
我们可以把那个湖变大吗？
Move the train wreck 50 feet!
将火车残骸移动 50 英尺！
That tree's too close to the walkway!
那棵树离人行道太近了！
How about moving it?" Never mind it weighed 15 tons.
搬走怎么样？”别介意它重15吨。
Bob Gurr, Designer: : Walt was literally down there every day watching everything, but never distraught, never negative, just urging everybody on, exploring all the ways how to fix stuff.
Bob Gurr，设计师：Walt 每天都在那里观察一切，但从不心烦意乱，从不消极，只是敦促每个人继续前进，探索解决问题的所有方法。
Neal Gabler, Biographer: : Walt is interested in every blade of grass.
传记作者尼尔·加布勒：沃尔特对每一片草叶都感兴趣。
He's interested in every leaf on a tree.
他对树上的每一片叶子都感兴趣。
He's interested in where everything is placed.
他对所有东西的放置位置很感兴趣。
There's not an attraction that Walt Disney isn't deeply involved in.
没有哪一个景点是华特迪士尼不深入参与的。
Narrator: : Disney's constant demands put the entire operation behind the eight-ball, as did his stubborn insistence to get Disneyland up and running in a hurry.
旁白：迪士尼不断的要求使整个运作落后于八球，他顽固地坚持让迪士尼乐园尽快建成并投入运行。
Six weeks from his announced opening date, panic was starting to set in.
距他宣布开业六周后，恐慌开始出现。
The entrance plaza was not yet landscaped; Main Street was unpaved, the castle unfinished.
入口广场尚未进行景观美化；主街尚未铺砌，城堡也未完工。
The Jungle Cruise boats were moving, but the robotic animals had yet to be installed.
丛林游船正在行驶，但机器动物尚未安装。
As opening day approached, less than half of the planned attractions were ready to receive visitors, and members of the WED staff were lobbying to push back the opening.
随着开放日的临近，只有不到一半的计划景点已准备好接待游客，WED 工作人员正在游说推迟开放。
Walt was uninterested in the naysayers.
沃尔特对反对者不感兴趣。
He just kept pushing harder.
他只是继续更加努力。
The construction crew tripled in the final weeks, to 2,500 men, many of whom were working 16 hours a day.
最后几周，施工人员数量增加了两倍，达到 2,500 人，其中许多人每天工作 16 小时。
Costs climbed to more than $17 million, more than three times the estimate made when construction began.
成本攀升至超过 1700 万美元，是施工开始时估算的三倍多。
Marty Sklar, Executive: : So many things were finished at the last minute.
马蒂·斯克拉（Marty Sklar），执行官：：很多事情都是在最后一刻完成的。
There was a plumbers' strike in Orange County, which was settled about a day before Disneyland opened.
奥兰治县发生了一次水管工罢工，罢工在迪士尼乐园开业前一天左右得到解决。
So Walt had the choice of finishing the bathrooms or the drinking fountains.
因此，沃尔特可以选择装修浴室或饮水机。
And of course he chose the bathrooms.
当然，他选择了浴室。
Narrator: : "People can buy Pepsi-Cola," Disney explained, "but they can't pee in the street."
旁白：“人们可以购买百事可乐，”迪士尼解释道，“但他们不能在街上撒尿。”
Bob Gurr, Designer: : Well, the interesting thing about Walt, just before the park was getting ready to open, he was so excited.
鲍勃·格尔（Bob Gurr），设计师：：嗯，关于沃尔特的有趣的事情是，就在公园准备开放之前，他非常兴奋。
Like a proud father.
就像一位骄傲的父亲。
Look what he's got now!
看看他现在有什么！
That was Walt at his best.
那是沃尔特最好的状态。
His enthusiasm of pursuing where he wanted to go, and everybody was just going to follow him right along.
他追求自己想去的地方的热情，每个人都会跟着他走。
Narrator: : The park was a-bustle the day before the opening.
旁白：：开园前一天，公园里热闹非凡。
ABC was setting its cameras and running rehearsals for the next day's broadcast, which was planned as the biggest and most ambitious live telecast ever.
美国广播公司正在设置摄像机并为第二天的广播进行排练，计划将其打造为有史以来规模最大、最雄心勃勃的现场电视直播。
One work crew was frantically trying to dig out the 900-pound mechanical elephant that was sinking into the Jungle River.
一名工作人员正疯狂地试图挖出这头沉入丛林河的 900 磅重的机械象。
Another was adding lead weights to the front of the train engine to make sure it didn't tip backward.
另一个方法是在火车引擎的前部添加铅块，以确保它不会向后倾斜。
Painters were settling in for an all-nighter.
画家们准备通宵工作。
Walt himself put on a mask and helped spray-paint backdrops for the 20,000 Leagues Under the Sea exhibit.
沃尔特本人戴上面具，帮助为 20,000 Leagues Under the Sea 展览喷漆背景。
He was still at Disneyland at 3:00 in the morning, walking the grounds, barking orders.
凌晨 3:00，他仍在迪士尼乐园里，一边走一边大声发号施令。
"We need new murals for the trains!
“我们需要为火车绘制新壁画！
Get me an artist!"
给我找个艺术家吧！”
July 17, 1955 dawned unusually hot in Anaheim, California.
1955 年 7 月 17 日，加利福尼亚州阿纳海姆的黎明异常炎热。
The temperature was already nearing 100 degrees when word came that traffic into the park was backed up for seven miles on Harbor Boulevard.
当有消息称进入公园的交通在港口大道上拥堵了七英里时，气温已接近 100 度。
When the gates opened that afternoon people flooded in -- many of them waving counterfeit tickets.
那天下午，当大门打开时，人们蜂拥而入，其中许多人挥舞着假票。
Hank Weaver, Reporter (archival): : You are now in the press room of Disneyland, which is equipped to service over 1,000 members of the worldwide press here to cover this truly great event and to start the proceedings we take you to the entrance of Disneyland and your host, Art Linkletter.
汉克·韦弗 (Hank Weaver)，记者（档案）： ：您现在身处迪士尼乐园的新闻发布室，该新闻发布厅可以为全球 1,000 多名媒体成员提供服务，报道这一真正伟大的活动，并开始我们的活动，我们将带您前往迪士尼乐园的入口处和您的主持人 Art Linkletter。
Art Linkletter, Reporter (archival): : Well this job in the next hour and a half is going to be a delight.
Art Linkletter，记者（档案）：：嗯，接下来一个半小时的工作将是令人愉快的。
I feel like, well I feel like Santa Claus with a $17 million bundle of gift packages all wrapped in whimsy and sent your way over television with the help of 29 cameras, dozens of crews, and literally miles and miles of cable.
我感觉，好吧，我感觉自己就像圣诞老人，带着价值 1700 万美元的礼物包，所有礼物都用奇思妙想包裹着，并在 29 个摄像机、数十名工作人员和数英里长的电缆的帮助下通过电视发送给你。
Now, of course, this is not so much a show as it is a special event.
当然，现在这与其说是一场表演，不如说是一场特殊的活动。
Walt Disney (archival): : Oh fine, fine!
沃尔特·迪士尼（档案）：：哦，好吧，好吧！
The Governor had her round through Frontierland and then Fred Gurley there, he took her round.
总督带她参观了边境地区，然后弗雷德·格利在那里，他带她参观了。
I picked her up and brought her in, high ball her in, boy!
我把她抱起来，带她进来，把她打得很高，孩子！
Steven Watts, Historian: : They have dozens of cameras all through the park.
史蒂文·瓦茨（Steven Watts），历史学家：：他们在整个公园里安装了数十台摄像机。
And the hope is that they will go from this scene to that, and here to there, and show all parts of the park.
希望他们能从这个场景到那个场景，从这里到那里，展示公园的所有部分。
And about half of it worked and half of it didn't.
大约一半有效，一半无效。
Technology, of course, in the TV age in that period was very crude.
当然，那个时期电视时代的技术非常粗糙。
It was live TV, and there were a lot of screw-ups.
这是电视直播，有很多失误。
Art Linkletter, Reporter (archival): : Sure, Bob Cummings up at the pirate ship, we're back to you, boy!
记者 Art Linkletter（档案）： 当然，鲍勃·卡明斯在海盗船上，我们回来了，孩子！
Bob Cummings, Reporter (archival): : Oh, you're waiting for me?
鲍勃·卡明斯，记者（档案）：哦，你在等我吗？
Oh, thank you!
哦，谢谢你！
Everybody is waving at Bob Cummings over here, so I guess I'm back on.
这里每个人都在向鲍勃·卡明斯挥手，所以我想我又回来了。
Well, ladies and gentlemen, it's Bob Cummings again, back with you.
女士们先生们，鲍勃·卡明斯又回来了。
And like the Peter Pan Fly-Through -- .
就像彼得潘飞越一样——。
Walt Disney (archival): : I'd like to read these few words of dedication.
沃尔特·迪士尼（档案）：：我想读一下这几句话的奉献精神。
"A vista into a world of wondrous ideas signifying man's achievements" -- I thought I got a signal?
“一个充满奇妙想法的世界的远景，标志着人类的成就”——我以为我收到了信号？
Narrator: : The audience for the live broadcast that Sunday was double Disney's normal number.
旁白：：周日现场直播的观众人数是迪士尼正常人数的两倍。
Nearly half of the American population took in Disneyland from the comfort of their own living rooms, which had its advantages.
近一半的美国人在自己舒适的客厅里游览迪士尼乐园，这有它的优势。
Fantasyland was closed by a nearby gas leak.
幻想世界因附近煤气泄漏而关闭。
Mr. Toad's Wild Ride succumbed to an overload of the park's power grid.
蟾蜍先生的狂野骑行因公园电网超载而崩溃。
Bob Gurr, Designer: : It was so hot!
Bob Gurr，设计师： ：太热了！
It was just not a day you want to have that much heat.
这只是你不想有那么热的一天。
The asphalt was still soft, and gals with the high heels were going down in the asphalt.
柏油路还是软软的，高跟鞋的姑娘们在柏油路上走着。
Rolly Crump, Designer: : The lines were so packed we didn't try to eat because it was, the lines to get food was ridiculous.
Rolly Crump，设计师：：排队的人太多了，我们没有尝试去吃饭，因为排队买食物的队伍太荒谬了。
The whole thing was a bit of a nightmare.
整件事有点像一场噩梦。
Marty Sklar, Executive: : Oh, it was awful.
马蒂·斯克拉（Marty Sklar），执行官： 哦，太糟糕了。
It was terrible.
太可怕了。
There were rumors that some of the Hollywood personalities were using language that shouldn't be heard by children.
有传言称，一些好莱坞名人使用了儿童不应该听到的语言。
Narrator: : Newspaper reporters were crawling all over the park that day, filling their notebooks with mishaps and misadventures for their next-day stories.
旁白： 那天，报纸记者在公园里爬行，在笔记本上记满不幸和不幸的事，以备第二天的报道。
Walt didn't care.
沃尔特不在乎。
His daughter Diane said she had never seen him happier.
他的女儿黛安说她从未见过他如此快乐。
Art Linkletter (archival): : Walt, you've made a bum out of Barnum today, but we've gotta go.
Art Linkletter（档案）： ：沃尔特，你今天把巴纳姆搞得一团糟，但我们得走了。
Walt Disney (archival): : I know, but I just want to say a word of thanks to all the artists, the workers, and everybody that helped make this dream come true.
沃尔特·迪士尼（档案）：我知道，但我只想对所有艺术家、工人以及所有帮助实现这一梦想的人表示感谢。
Art Linkletter (archival): : Let's go into Fantasyland and have some fun.
Art Linkletter（存档）： ：让我们进入幻想世界，享受一些乐趣。
Narrator: : Disneyland was thrown open to the public the day after the gala opening, and people began lining up at 2:00 that morning for the chance to be the first ones through the gate.
旁白： 迪士尼乐园在盛典开幕后的第二天就向公众开放，人们在当天凌晨 2:00 开始排队，等待有机会成为第一批进入大门的人。
The park drew a million visitors in its first 10 weeks alone; pretty soon there were five million per year, and Walt's paradise had become a must-see for foreign dignitaries on tour in the U.S. Prime Minister Nehru of India touched down in the park, as did the King and Queen of Nepal, the Shah of Iran, political leaders from Europe, Africa and South America.
该公园仅在前 10 周就吸引了 100 万游客；很快，每年游客数量就达到了 500 万，沃尔特的天堂已成为来美国旅游的外国政要的必游之地。印度总理尼赫鲁、尼泊尔国王和王后、伊朗国王以及来自欧洲、非洲和南美的政治领导人也曾在此降落。
Soviet Premier Nikita Khrushchev threw a fit when the U.S. State Department, citing security concerns, quashed his planned visit to Disneyland.
当美国国务院以安全考虑为由取消苏联总理尼基塔·赫鲁晓夫参观迪士尼乐园的计划时，他大发雷霆。
These world leaders saw Disneyland as a quick and easy window into the U.S. psyche -- the Cliff Notes version of American history and culture.
这些世界领导人将迪士尼乐园视为了解美国心理的快速而简单的窗口——美国历史和文化的悬崖笔记版本。
Walt's countrymen, meanwhile, were enticed to this new vacation destination by a simple promise: a day's escape from the cares and concerns of everyday life.
与此同时，沃尔特的同胞们被一个简单的承诺吸引到了这个新的度假胜地：远离日常生活的忧虑和担忧。
Steven Watts, Historian: : What introduces all of it, that you have to go through when you come into the park, is this idealized rendering of small-town America, the values, the feel, the ethics, all of that.
史蒂文·瓦茨（Steven Watts），历史学家：：当你进入公园时，你必须经历的这一切，就是美国小镇的理想化呈现，价值观、感觉、道德，所有这一切。
What Disney's trying to do at some level of awareness is to create an image of America that people would like to think exists.
迪士尼试图在某种程度上提高人们的意识，创造一个人们愿意认为存在的美国形象。
Riverboat Announcer (archival): : On Tom Sawyer's Island, you see Old Fort Wilderness shelter and protection for the hearty pioneers, pushing ahead into unsettled territory.
河船播音员（档案）：：在汤姆索亚岛上，您可以看到旧堡荒野的庇护所和保护，为热心的拓荒者提供保护，推动他们进入不稳定的领土。
Off the port bow, a friendly Indian village where members of many tribes gather to perform ancient ceremonial dances.
左舷处是一个友好的印第安村庄，许多部落的成员聚集在一起表演古老的仪式舞蹈。
Carmenita Higginbotham, Art Historian: : Disneyland is a space in which American ideals are celebrated.
Carmenita Higginbotham，艺术史学家：：迪士尼乐园是庆祝美国理想的空间。
So you have Frontierland, and you have gestures to America's past -- and not the complicated moments, not the moments that are about pain and suffering.
所以你有《边境之地》，你有对美国过去的暗示——而不是复杂的时刻，不是关于痛苦和磨难的时刻。
If there's a Native American presence at Frontierland, it's not about contest.
如果边境之地有美洲原住民的存在，那并不是为了竞争。
It's about resolution.
这是关于分辨率的。
Narrator: : Frontierland and Adventureland pointed back, Fantasyland inward.
旁白：：边疆世界和冒险世界向后，幻想世界向内。
Tomorrowland compassed advances in science and technology that assured better days to come.
明日世界包含了科学技术的进步，确保了美好的日子即将到来。
And all under the guidance of corporate America.
而这一切都是在美国企业界的指导下进行的。
Disneyland Announcer (archival): : Welcome to Monsanto's Plastics Home of the Future.
迪士尼乐园播音员（档案）：：欢迎来到孟山都的未来塑料之家。
As you entered this experimental model home, perhaps you notice that the house itself is constructed entirely of plastics.
当您进入这个实验样板房时，也许您会注意到房屋本身完全由塑料制成。
Carmenita Higginbotham, Art Historian: : Disneyland is the idealization of the past and the hopeful regard for the future.
Carmenita Higginbotham，艺术史学家：迪士尼乐园是对过去的理想化和对未来充满希望的展望。
It is not about now.
这不是现在的事。
It is a complete release from all of those burdens.
这是所有这些负担的完全释放。
Neal Gabler, Biographer: : What people find there is a perfection that you can't find in real life.
传记作者尼尔·加布勒 (Neal Gabler)：：人们发现的完美是现实生活中找不到的。
It's odd to say that something's better than real, because after all, what's better than real?
说某样东西比真实的更好是很奇怪的，因为毕竟，还有什么比真实更好的呢？
But Walt Disney was the man who helped discover things that are better than real.
但沃尔特·迪士尼是帮助发现比现实更好的事物的人。
Narrator: : "Disneyland materializes bigger than life and twice as real," one magazine writer gushed.
旁白：一位杂志作家滔滔不绝地说道：“迪士尼乐园比生活更宏大，比现实还要真实两倍。”
Another praised Disney for tending his creation "with the sureness of a mature master who can still retain the vision of a child." There were a handful of early critics.
另一位评论家称赞迪士尼“以一位成熟大师的坚定态度来照顾他的创作，但他仍然保留着孩子的视力。”早期有一些批评者。
"The whole world, the universe, and all man's striving for dominion over self and nature," wrote a journalist, "have been reduced to a sickening blend of cheap formulas packaged to sell.
一位记者写道：“整个世界、宇宙以及所有人类对自我和自然的统治的努力，都已沦为廉价配方的令人作呕的混合物，包装起来出售。
Life is bright-colored, clean, safe, mediocre, inoffensive." Walt Disney wanted bright and clean and safe.
生活是鲜艳的、干净的、安全的、平庸的、无害的。”沃尔特·迪士尼想要明亮、干净、安全。
He loved the place.
他喜欢这个地方。
Bob Gurr, Designer: : Walt treated that park as his personal toy.
鲍勃·格尔（Bob Gurr），设计师：沃尔特把那个公园当作他的个人玩具。
Over the firehouse there next to the City Hall, they had a little apartment.
在市政厅旁边的消防站上方，他们有一间小公寓。
He and Lilly would go down there on a Friday or Saturday night.
他和莉莉会在周五或周六晚上去那里。
He'd get up early in the morning before anybody showed up, and he'd go over to a little store where they had orange juice being freshly squeezed, and he'd go out there in his bathrobe and get it and come back up to his little apartment.
一大清早，在有人出现之前，他就起床了，他会去一家小商店，那里有鲜榨的橙汁，他会穿着浴袍出去买东西，然后回到他的小公寓。
Ron Miller, Son-in-Law: : It was a good place for Walt to relax, get away from the crowd.
罗恩·米勒（Ron Miller），女婿：：对沃尔特来说，这是一个放松、远离人群的好地方。
But it was adjacent to the jungle ride.
但它毗邻丛林骑行。
All night long, you would hear, "Ha-ya-ya-ya, Ha-ya" -- all night long.
整个晚上，你都会听到“Ha-ya-ya-ya，Ha-ya”——整个晚上。
Rolly Crump, Designer: : If you saw him in person, you'd never recognize him from the man that was on TV.
Rolly Crump，设计师：：如果您亲眼见过他，您永远不会从电视上的那个人中认出他。
Walt was really quite bent over.
沃尔特真的弯下了腰。
Well, with his little sweater that he wore, his little golf sweater, and he never combed his hair, he'd wander around Disneyland and nobody knew who he was.
好吧，穿着他的小毛衣，他的小高尔夫毛衣，而且他从不梳理头发，他在迪士尼乐园里闲逛，没有人知道他是谁。
He used to get in line and stand in line for as long as it took to see the attraction and just listen to what people had to say because there might be something that he would hear that would spark him into some of the attractions that he was doing.
他过去常常排队，只要能看到景点，他就会排队，只是听人们说些什么，因为他听到的某些内容可能会激发他对他正在做的一些景点的兴趣。
Narrator: : At a dinner party one evening, a friend suggested to Disney that he was popular enough to be elected President.
旁白： ： 一天晚上，在一次晚宴上，一位朋友向迪士尼建议，他很受欢迎，可以当选总统。
Walt fixed him with an incredulous stare.
沃尔特用难以置信的目光盯着他。
"Why would I want to be President of the United States?
“我为什么想成为美国总统？
I'm the King of Disneyland."
我是迪士尼乐园的国王。”
In July 1956, the summer after his theme park opened, Walt Disney alighted in Marceline, Missouri, the town where he had briefly lived a half-century earlier.
1956 年 7 月，也就是他的主题公园开业后的那个夏天，沃尔特·迪士尼 (Walt Disney) 降落在密苏里州的马塞琳 (Marceline)，半个世纪前他曾在这个小镇短暂居住过。
He had been asked back to dedicate a park named in his honor, and surprised the town fathers by accepting the invitation.
他被邀请回来修建一座以他的名字命名的公园，他接受了邀请，这让镇上的父亲们感到惊讶。
Marceline accorded Walt and his brother Roy a hero's welcome, and Disney luxuriated in the glow of the town's adoration.
马塞琳对沃尔特和他的兄弟罗伊给予了英雄式的欢迎，迪士尼也沉浸在小镇的崇拜之中。
The reception seemed to confirm Walt Disney's fondest idea of himself.
这次招待会似乎证实了沃尔特·迪士尼对自己最喜爱的想法。
He was the exemplar of the simple and steadfast virtues of middle America: a small-town boy made good.
他是美国中部简单而坚定的美德的典范：一个出身的小镇男孩。
It didn't matter that Walt had spent nearly his entire childhood in Kansas City and Chicago, and his entire adult life in Los Angeles.
沃尔特几乎整个童年都是在堪萨斯城和芝加哥度过的，而他的整个成年生活都是在洛杉矶度过的，但这并不重要。
He was reclaiming Marceline as home.
他正在把玛瑟琳当作自己的家。
This was classic Disney: an act of will, and of imagination.
这是经典的迪士尼：意志和想象力的表现。
He was rewriting his own childhood with a happy ending.
他正在改写自己的童年，给自己一个美好的结局。
Don Hahn, Writer: : Mark Twain had his Hannibal, Walt Disney was going to have his Marceline.
唐·哈恩，作家：：马克·吐温有他的汉尼拔，华特·迪士尼将有他的玛瑟琳。
He could go out and just play.
他可以出去玩。
And sit in his wishing tree.
并坐在他的许愿树上。
And hear the trains go by at nighttime, trains that could take him anywhere in the world.
听到夜间火车驶过的声音，这些火车可以带他去世界任何地方。
Sarah Nilsen, Film Historian: : For him everything springs out of Marceline.
电影史学家莎拉·尼尔森：：对他来说，一切都源于玛瑟琳。
This is the place you need to represent and signify as the one where I came from.
这是你需要代表和象征我来自的地方。
Carmenita Higginbotham, Art Historian: : It almost feels like it's locked in time.
Carmenita Higginbotham，艺术史学家：：感觉就像被时间锁定了一样。
It's frozen.
它被冻结了。
And he can relive it over, and over, and over again.
他可以一遍又一遍地重温它。
I think that is the appeal of it.
我想这就是它的魅力所在。
It's a romanticized period of his youth, and he accesses it.
这是他青春时期的一段浪漫时期，他也进入了这段时期。
He can go back to it and use it as a touchstone for his understanding of what an ideal childhood should be.
他可以回顾它，并将其作为他理解理想童年应该是什么样的试金石。
Narrator: : By 1960, Walt Disney stood atop one of the world's most profitable entertainment enterprises.
旁白： 到 1960 年，华特迪士尼已成为世界上最赚钱的娱乐企业之一。
The steady stream of revenue from Disneyland meant Walt was free from interference from his bankers for the first time in his 40-year career.
迪士尼乐园的稳定收入意味着沃尔特在 40 年的职业生涯中第一次摆脱了银行家的干扰。
But whether he was making improvements on his theme park, or overseeing his TV shows and the half-dozen movies his studio was producing every year, he was always thinking about protecting his legacy.
但无论他是在改进他的主题公园，还是监督他的电视节目和他的工作室每年制作的六部电影，他总是在考虑保护他的遗产。
"Disney is something we've built up in the public over the years," he explained to one young writer.
“迪士尼是我们多年来在公众中建立起来的东西，”他向一位年轻作家解释道。
Disney "stands for something."
迪士尼“代表着某种东西”。
Ron Suskind, Writer: : Brand wasn't used back then, but you know I now am a symbol, is what he's saying.
罗恩·苏斯金德（Ron Suskind），编剧：：当时还没有使用品牌，但你知道我现在是一个象征，正如他所说的那样。
And I think what he's trying to wrestle with is how does it feel to be a symbol.
我认为他想要解决的是作为一个象征的感觉如何。
How does it feel to be essentially a one-word representation of a lot of stuff?
本质上是用一个词来表示很多东西感觉如何？
TV Announcer, The Mickey Mouse Club (archival): : Walt Disney and Mickey Mouse present the Mickey Mouse Club!
电视播音员，米老鼠俱乐部（档案）： ：华特迪士尼和米老鼠介绍米老鼠俱乐部！
Singing, The Mickey Mouse Club (archival): : Forever let us hold our banner high, high, high, high!
歌唱，米老鼠俱乐部（档案）：：让我们永远高举我们的旗帜，高高，高高，高高！
Carmenita Higginbotham, Art Historian: : He starts to internalize that sense of he's standing for something more.
Carmenita Higginbotham，艺术史学家：：他开始内化自己代表着更多东西的感觉。
And it's not shareholders.
而且不是股东。
Those are not who he feels responsible to.
这些人不是他认为有责任的人。
Carmenita Higginbotham, Art Historian: : As he solidifies as a brand, you don't have that risk-taking that you felt in the early years of his career.
Carmenita Higginbotham，艺术史学家：：随着他作为一个品牌的巩固，你不会再像他职业生涯的早期那样冒险。
Ron Miller, Son-in-Law: : He invited Diane and I over to watch a film.
罗恩·米勒（Ron Miller），女婿：：他邀请黛安和我去看电影。
The film was To Kill a Mockingbird .
这部电影是《杀死一只知更鸟》。
He said, "Boy, that was a hell of a picture.
他说：“天哪，那真是一张地狱般的照片。
I wish I could make a picture like that." And you could feel that he felt restricted in what he - how far he could go.
我希望我能拍出这样的照片。”你可以感觉到他感到自己的能力受到限制——他能走多远。
Jimmie Dodd, The Mickey Mouse Club (archival): : And one more thing we want you to always remember...
吉米·多德，米老鼠俱乐部（档案）：：还有一件事我们希望您永远记住......
Don Hahn, Writer: : It is entertainment that is bounded by Walt's ethics and his aesthetics and his perception of what a family audience wanted and needed.
唐·哈恩（Don Hahn），作家：：这是一种娱乐，受到沃尔特的道德、美学以及他对家庭观众想要和需要的看法的限制。
You're going to see the happy ending.
你会看到幸福的结局。
You're going to see a film or a theme park or a place to go where it shows the hope of the human spirit, excelling and winning at the end of the day.
你会去看一部电影、一个主题公园或一个地方，在那里它展示了人类精神的希望，最终表现出卓越和胜利。
Because that's who he was.
因为他就是这样的人。
Narrator: : Disney made no apologies for his work, whatever his private misgivings.
旁白：：无论他个人有什么疑虑，迪士尼都没有为他的工作道歉。
He would sometimes say -- with more than a little revisionist history -- that he had never thought of his movies as art, but as show business.
他有时会说——他有不少修正主义的历史——他从来没有认为自己的电影是艺术，而是演艺事业。
And could point to his huge box-office take as proof that he was serving an appreciative public.
并可以指出他巨大的票房收入证明他正在为有鉴赏力的公众服务。
Narrator: : When ABC expressed frustration over the falling ratings of his television show, Disney simply moved it to NBC's Sunday evening line-up and stayed on as host.
旁白：：当 ABC 对他的电视节目收视率下降表示沮丧时，迪士尼只是将其移至 NBC 周日晚间节目并继续担任主持人。
Walt Disney, Disneyland (archival): : Now in a few moments, we'll head over to stage two for the filming of the final scene of Babes in Toyland .
沃尔特·迪士尼 (Walt Disney)，迪士尼乐园（档案）： ： 稍后，我们将前往第二阶段拍摄《玩具城宝贝》的最后一幕。
Then after that…
然后在那之后……
Richard Schickel, Writer: : He liked his fame.
理查德·希克尔（Richard Schickel），作家：：他喜欢自己的名声。
He was comfortable with it.
他对此感到很舒服。
He liked introducing the TV show.
他喜欢介绍电视节目。
He liked the character he created, of the avuncular Uncle Walt.
他喜欢他所塑造的角色，即慈祥的沃尔特叔叔。
Walt Disney, Disneyland (archival): : The motion picture set is probably the most expendable part of filmmaking.
沃尔特·迪士尼，迪士尼乐园（档案）：：电影布景可能是电影制作中最消耗的部分。
Rolly Crump, Designer: : They would write scripts and have a monitor for him to read when he was on TV, and then he'd just forget it, he just would wing it.
罗利·克伦普（Rolly Crump），设计师：：他们会写剧本，并在他上电视时给他一个显示器供他阅读，然后他就忘记了，他只是即兴发挥。
So he loved winging it on TV.
所以他喜欢在电视上即兴表演。
Singing Tree, Disneyland (archival, TV show character): : Time to shoot the final scene.
迪士尼乐园的歌唱树（档案，电视节目角色）： ：是时候拍摄最后的场景了。
All the cast and all the crew are on stage two.
所有演员和工作人员都在第二阶段。
Carmenita Higginbotham, Art Historian: : There is something very affable about Walt Disney the host.
卡梅尼塔·希金博特姆 (Carmenita Higginbotham)，艺术史学家： 主持人沃尔特·迪士尼 (Walt Disney) 非常和蔼可亲。
He's there every week.
他每周都在那里。
He's a regular part of your living room experience.
他是您客厅体验的常规组成部分。
Walt Disney, Disneyland (archival): : Well, this is how a busy movie set looks to the man behind the man, behind the camera.
沃尔特·迪士尼 (Walt Disney)，迪士尼乐园（档案）： ：嗯，这就是忙碌的电影布景在镜头后面的人看来的样子。
It seems to be…
似乎是……
Carmenita Higginbotham, Art Historian: : He speaks to you as if you mattered to him.
Carmenita Higginbotham，艺术史学家：：他对你说话，就好像你对他很重要一样。
Walt Disney, Disneyland (archival): : ...But it's actually a well-organized and efficient operation.
华特·迪士尼，迪士尼乐园（档案）：：……但这实际上是一个组织良好且高效的运作。
Carmenita Higginbotham, Art Historian: : Is it really him?
Carmenita Higginbotham，艺术史学家：：真的是他吗？
I don't know.
我不知道。
I want to believe it's him.
我愿意相信是他。
I hope it's him.
我希望是他。
And I think audiences hope it's him as well.
我认为观众也希望是他。
Narrator: : Walt was aware of the gap between himself and the persona he had created for public consumption.
旁白：沃尔特意识到自己与他为公众消费而创造的角色之间的差距。
"I'm not Walt Disney," he once told a friend.
“我不是沃尔特·迪士尼，”他曾经告诉一位朋友。
"I do a lot of things Walt Disney wouldn't do.
“我做了很多华特迪士尼不会做的事情。
Walt Disney doesn't smoke.
沃尔特·迪士尼不抽烟。
I smoke.
我抽烟。
Walt Disney doesn't drink.
华特迪士尼不喝酒。
I drink."
我喝酒。”
He told himself he was the same regular guy he had always been.
他告诉自己，他还是一如既往的普通人。
He got his haircuts at the company barbershop, drove himself to the office every day, and carried cans of his favorite chili-and-beans on trips to London or the French Riviera.
他在公司的理发店理发，每天自己开车去办公室，在去伦敦或法国里维埃拉旅行时带着他最喜欢的辣椒和豆类罐头。
But he was not like everybody else, and he knew it.
但他和其他人不一样，他知道这一点。
Floyd Norman, Animator: : Every time Walt walked down a hallway, he would give a loud cough.
弗洛伊德·诺曼，动画师：：每次沃尔特走过走廊时，他都会大声咳嗽。
Naturally you'd think Walt's coughing because he was a smoker.
你自然会认为沃尔特咳嗽是因为他抽烟。
But his cough was not necessarily due to smoking.
但他的咳嗽并不一定是因为吸烟。
It was a warning sign so we would know that the boss was in the area.
这是一个警告信号，这样我们就知道老板就在该地区。
Richard M.
理查德·M。
Sherman, Composer and Lyricist: : In Bambi , there's a line when "Man is in the forest," there was danger.
谢尔曼，作曲家和作词家： ：在《小鹿斑比》中，有一句台词“人在森林里”，表示存在危险。
You have to be worried.
你必须担心。
We'd hear Walt coughing coming down the hall.
我们听到沃尔特的咳嗽声从大厅传来。
And one of the guys would say, "Man is in the forest." And we'd all get ready for Walt.
其中一个人会说：“人在森林里。”我们都会为沃尔特做好准备。
Rolly Crump, Designer: : He walked through the door and, you know, pins would drop.
Rolly Crump，设计师：：他走进门，你知道，别针会掉下来。
You couldn't hear anything.
你什么也听不到。
His personal power walked right with him.
他的个人权力与他同行。
You knew you were sitting with Walt Disney.
你知道你正和沃尔特·迪士尼坐在一起。
Richard M.
理查德·M。
Sherman, Composer and Lyricist: : And there was no joking around.
谢尔曼，作曲家和作词家：：这不是开玩笑。
He would sit down, he'd say, "Okay, guys, what you got?"
他会坐下来，说：“好吧，伙计们，你们得到了什么？”
Narrator: : Disney's company was bigger than ever in the early 1960s, with money to burn.
旁白：：迪士尼公司在 20 世纪 60 年代初规模空前，资金充足。
But Walt was as restless and driven as always, and still difficult when things were going against him.
但沃尔特一如既往地焦躁不安、动力十足，当事情对他不利时，他仍然很难相处。
He quit speaking to his brother Roy for months during a contentious contract negotiation.
在一场有争议的合同谈判期间，他几个月没有和他的兄弟罗伊说话。
He still chain-smoked through every story meeting, always aware that the clock was running.
每次故事会他仍然不停地抽烟，总是意识到时间已经不多了。
Ron Miller, Son-in-Law: : For the most part he was patient, but when somebody was really off base, his eyebrow would go up, and his fingers would start tapping.
罗恩·米勒（Ron Miller），女婿：：在大多数情况下，他都很耐心，但当有人真的偏离基地时，他的眉毛就会扬起，他的手指就会开始敲击。
That was a sign.
那是一个迹象。
Floyd Norman, Animator: : Walt was not generous with praise.
弗洛伊德·诺曼（Floyd Norman），动画师：：沃尔特并没有慷慨地赞扬。
If he was pleased with something, he would simply say, "That'll work." If you could get "That'll work" from Walt Disney, you knew you had done your job.
如果他对某件事感到满意，他只会说：“那就行了。”如果你能从沃尔特·迪士尼那里得到“That'll work”，你就知道你已经完成了你的工作。
That was a good day.
那真是美好的一天。
That was a good meeting.
那是一次很好的会面。
Richard M.
理查德·M。
Sherman, Composer and Lyricist: : Walt Disney could be very hard on someone if they weren't cooperating in his way.
谢尔曼，作曲家和作词家：：如果某人不按照他的方式合作，沃尔特·迪士尼可能会对他们非常严厉。
He'd jump on them really very badly.
他会非常非常地跳到他们身上。
Because if somebody's, "Nah, just doesn't hit me.
因为如果有人说：“不，只是没有打到我。
I just don't like it," he'd say, "If you can't think of a way to improve it, or try to, then keep your mouth shut." Oh, he got very upset with them.
我只是不喜欢它，”他会说，“如果你想不出改进的方法，或者尝试去改进它，那就闭嘴。”哦，他对他们很生气。
Rolly Crump, Designer: : I only saw him -- in the seven years that I knew him -- I only saw him unload twice.
Rolly Crump，设计师：：在我认识他的七年里，我只见过他两次。
And I thought, "God, I'll never reach that point to where he unloads on me." But the people that he unloaded on deserved it.
我想，“天哪，我永远不会达到他向我倾诉的地步。”但他所倾倒的人们罪有应得。
I was there.
我当时就在那里。
Once he's made a decision you abide by it, whether you agree with it or not, he's the boss, for God sakes.
一旦他做出了决定，你就必须遵守，无论你同意与否，他都是老大，看在上帝的份上。
Richard Schickel, Writer: : I don't think he was totally grounded.
理查德·希克尔（Richard Schickel），作家：我认为他并没有完全脚踏实地。
I think he wanted to be what his image was.
我认为他想成为他的形象。
I think He wanted to be thought of as "hail-fellow-well-met," good-natured.
我认为他希望被认为是“万岁的好朋友”，脾气很好。
But he wasn't.
但他不是。
Nobody who does stuff on the scale that he did is a good-natured, sweetheart of a guy.
没有人能像他那样做事，是一个心地善良、心地善良的人。
He was a hard-driving guy.
他是一个勤奋的人。
And I don't think he ever resolved those conflicts.
我认为他从未解决过这些冲突。
Narrator: : Walt Disney had no real intimates outside his own family and made little room in his life for friends.
旁白：沃尔特·迪士尼除了自己的家人之外没有真正的知己，在他的生活中也没有为朋友留出什么空间。
But he wanted acceptance and love and acclaim with a greediness that would have looked pathetic in a less successful man.
但他想要接受、爱和赞扬，而他的贪婪对于一个不那么成功的人来说是可悲的。
At age 61, he had won more Academy Awards than any other film producer in history, but it irked him that he had never even won a nomination for the most coveted prize -- the Oscar for best picture.
61 岁时，他获得的奥斯卡奖比历史上任何其他电影制片人都多，但令他恼火的是，他甚至从未获得过最令人垂涎的奖项——奥斯卡最佳影片的提名。
The boss's increasing engagement in one particular film in the Disney pipeline started to create buzz around Burbank in 1963.
1963 年，这位老板越来越多地参与迪士尼筹备中的一部特定电影，开始在伯班克周围引起轰动。
Mary Poppins was based on a favorite children's novel of Disney's daughters, and a project Walt had started thinking about twenty 20 years earlier, back in that long-vanished era of limitless possibility after the worldwide success of Snow White.
《欢乐满人间》改编自迪士尼女儿们最喜欢的一本儿童小说，而沃尔特早在 20 年前就开始思考这个项目，当时《白雪公主》在全球获得成功后，那个充满无限可能的时代早已消失。
And memories of that formative era seemed to be tugging at Walt.
那个成长时期的记忆似乎一直困扰着沃尔特。
Ron Miller, Producer: : There was no animation in Mary Poppins .
罗恩·米勒（Ron Miller），制片人：：《欢乐满人间》中没有动画。
I'll never forget, one time we're going over a scene and Walt said, "By the way, Ron, would you look up Song of the South , and reel two, a hundred feet into it?
我永远不会忘记，有一次我们正在回顾一个场景，沃尔特说：“顺便说一句，罗恩，你能查一下《南方之歌》，然后将两卷卷入一百英尺的地方吗？
Put it in a projection room.
把它放在放映室里。
I would like to run it for the guys." They looked at each other.
我想为这些家伙运行它。”他们互相看着对方。
"What the hell is this all about?" And we went into the room, and it was live action and animation.
“这到底是怎么回事？”我们走进房间，里面有真人表演和动画。
And he got up and left.
然后他就起身离开了。
Didn't say a word.
没有说一句话。
And about three weeks later the same thing happened.
大约三周后，同样的事情发生了。
"Ron, will you put that reel up again?" And the lights came on, and that's when he told the boys, "I have an idea for animation in this."
“罗恩，你能把那个卷轴再放起来吗？”灯亮了，就在那时他告诉孩子们，“我有一个关于动画的想法。”
Richard M.
理查德·M。
Sherman, Composer and Lyricist: : He's basically a story man.
谢尔曼，作曲家和作词家： ：他基本上是一个讲故事的人。
He wanted the song, moving story, developing story, pushing story.
他想要这首歌、感人的故事、发展的故事、推动的故事。
And that was very, very important to him.
这对他来说非常非常重要。
George Banks, Mary Poppins (archival, singing): : The children must be molded, shaped and taught that life's a looming battle to be faced and fought!
乔治·班克斯、玛丽·波宾斯（档案、演唱）：：孩子们必须被塑造、塑造并教导他们，生活是一场迫在眉睫的战斗，需要面对和战斗！
Richard M.
理查德·M。
Sherman, Composer and Lyricist: : Mary Poppins is not a children's story; it's a story about a dysfunctional family that was not paying attention to the most important thing they had, and that was their children.
Sherman, Composer and Lyricist: : Mary Poppins is not a children's story;这是一个关于一个功能失调的家庭的故事，他们没有关注他们拥有的最重要的东西，那就是他们的孩子。
And Walt knew that, and that's what the story was.
沃尔特知道这一点，这就是故事的内容。
Mary Poppins, Mary Poppins (archival, singing): : It's time they learned to walk in your footsteps.
Mary Poppins，Mary Poppins（档案，歌唱）：：是时候让他们学会追随你的脚步了。
Mary Poppins, Mary Poppins (archival, singing): : To tread your straight and narrow path with pride.
玛丽·波平斯 (Mary Poppins)，玛丽·波平斯 (Mary Poppins)（档案，演唱）：：自豪地踏上笔直而狭窄的道路。
Mary Poppins, Mary Poppins (archival, singing): : Tomorrow just as you suggest, pressed and dress, Jane and Michael will be at your side.
《欢乐满人间》，《欢乐满人间》（档案，演唱）： ：明天，按照您的建议，按紧、穿好衣服，简和迈克尔就会在您身边。
George Banks, Mary Poppins (archival): : Splendid!
乔治·班克斯、《欢乐满人间》（档案）：：太棒了！
You've hit the nail right on the -- at my side?
你说得一针见血——在我这边？
Where are we going?
我们要去哪里？
Mary Poppins, Mary Poppins (archival): : To the bank of course, exactly as you proposed.
欢乐满人间，欢乐满人间（档案）：：当然是去银行，完全按照你的建议。
Mary Poppins, Mary Poppins (archival): : Course!
玛丽·波平斯，玛丽·波平斯（档案）：：当然！
Now, if you'll excuse me.
现在，请原谅。
Tomorrow's an important day for the children.
明天对孩子们来说是重要的一天。
I shall see they have a proper night's sleep.
我会确保他们睡个好觉。
Narrator: : Mary Poppins debuted in the summer of 1964 and became a box-office smash.
Narrator: : Mary Poppins debuted in the summer of 1964 and became a box-office smash.
It was also Walt Disney's most deliberate refashioning of the hard-hearted father story -- a miraculous parental transformation.
这也是华特·迪士尼对铁石心肠的父亲故事最刻意的重塑——一次神奇的父母转变。
George Banks, Mary Poppins (archival, singing): : Tuppence for paper and strings, you can have your own set of wings!
乔治·班克斯、玛丽·波宾斯（档案、演唱）：：塔彭斯纸和绳子，你可以拥有自己的翅膀！
With your feet on the ground, you're a bird in flight with your fist holding tight, to the string of your kite.
当你的双脚踩在地面上时，你就像一只飞行中的小鸟，你的拳头紧紧握着风筝的线。
Ooh, ooh; let's go fly a kite!
Ooh, ooh; let's go fly a kite!
Up to the highest height!
达到最高高度！
Narrator: : "You have made a great many pictures that have touched the hearts of the world," wrote legendary producer Samuel Goldwyn.
Narrator: : "You have made a great many pictures that have touched the hearts of the world," wrote legendary producer Samuel Goldwyn.
"But you have never made one so completely the fulfillment of everything a great motion picture should be."
“但你从未拍过一部如此完美地实现了一部伟大电影应有的一切。”
George Banks, Mary Poppins (archival, singing): : …Up where the air is clear.
乔治·班克斯、玛丽·波宾斯（档案、演唱）：……在空气清澈的地方。
Oh let's go...
Oh let's go...
Carmenita Higginbotham, Art Historian: : He is able to produce a film on his terms that has a narrative that is very much about family.
Carmenita Higginbotham，艺术史学家：：他能够按照自己的方式制作一部讲述家庭故事的电影。
Carmenita Higginbotham, Art Historian: : So he's staying true to what he believes personally that has woven itself into all of his films.
Carmenita Higginbotham，艺术史学家：：因此，他忠于他个人的信念，这些信念已融入到他的所有电影中。
Narrator: : Mary Poppins was nominated for thirteen Oscars, including Walt Disney's first and only nomination for Best Picture.
旁白：《欢乐满人间》获得十三项奥斯卡提名，其中包括华特迪士尼首次也是唯一一次获得最佳影片提名。
Carmenita Higginbotham, Art Historian: : Mary Poppins is validation for Walt Disney.
Carmenita Higginbotham, Art Historian: : Mary Poppins is validation for Walt Disney.
Carmenita Higginbotham, Art Historian: : He's finally being embraced by those whose validation he has always sought.
Carmenita Higginbotham，艺术史学家：：他终于得到了那些他一直寻求认可的人的拥抱。
Narrator: : Mary Poppins premiered into a different America than had Mickey Mouse, Snow White and Pinocchio .
旁白：《欢乐满人间》首演时的美国与米老鼠、白雪公主和匹诺曹不同。
American teenagers were discovering The Beatles, and Bob Dylan, and James Brown, and beginning to worry about a growing war in a place called Vietnam.
美国青少年发现了披头士乐队、鲍勃·迪伦和詹姆斯·布朗，并开始担心越南这个地方日益激烈的战争。
The entire country, meanwhile, was convulsed by momentous new Civil Rights laws.
与此同时，重要的新民权法震惊了整个国家。
Riots in New York and Los Angeles and segregationist intimidation in the Deep South were beamed into television sets in living rooms across the country.
纽约和洛杉矶的骚乱以及南方腹地的种族隔离恐吓事件被转播到全国各地客厅的电视机中。
Susan Douglas, Media Historian: : The gap is growing wider and wider between Disney's version of America, and what's really going on in the country, which is all of these fissures being exposed.
苏珊·道格拉斯，媒体历史学家：迪士尼版本的美国与这个国家真正发生的情况之间的差距越来越大，所有这些裂痕都被暴露出来。
Hayley Mills, Pollyanna, Pollyanna (archival, singing): : Oh beautiful, for spacious skies, for amber waves of grain…
海莉·米尔斯、波莉安娜、波莉安娜（档案、歌唱）：：噢，美丽，为了广阔的天空，为了琥珀色的谷物波浪……
Narrator: : Walt's defenders pointed to his movies as "sanctuaries of decency and health in the jungle of sex and sadism created by Hollywood producers."
旁白：沃尔特的捍卫者指出他的电影是“好莱坞制片人在性和虐待狂丛林中创造的正派和健康的避难所”。
Nancy Olson, Betsy Carlisle, The Absent-Minded Professor (archival): : How lovely it is!
南希·奥尔森、贝齐·卡莱尔、心不在焉的教授（档案）：：多么可爱啊！
Makes you feel proud, doesn't it?
让你感到自豪，不是吗？
Narrator: : Critics slammed him.
旁白：：批评者猛烈抨击他。
"Genuine feeling is ignored," said one, "the imagination of children bludgeoned with mediocrity."
“真实的情感被忽视了，”一位人士说道，“孩子们的想象力被平庸所打击。”
Hayley Mills, Sharon McKendrick, The Parent Trap (archival, singing): : Let's get together, yeah-yeah-yeah!
海莉·米尔斯 (Hayley Mills)、莎朗·麦肯德里克 (Sharon McKendrick)，《家长陷阱》（档案、演唱）：：让我们聚在一起，是啊是啊！
Think of all that we could share!
想想我们可以分享的一切！
Sarah Nilsen, Film Historian: : Watered down, no edge, devoid of any kind of distinctive ethnicity, any kind of diversity, this white, middle class, Protestant value system is what he really gets identified with.
莎拉·尼尔森，电影史学家：：淡化、没有边缘、没有任何独特的种族、任何多样性，这种白人、中产阶级、新教价值体系才是他真正认同的。
Many of those people that celebrated the 30s Disney as this visionary are now saying, "You're conservative.
许多将 30 年代的迪士尼视为富有远见的人现在都说：“你太保守了。
The values you're selling are conservative.
您出售的价值是保守的。
We no longer agree with them.
我们不再同意他们的观点。
Those are not our values."
这些不是我们的价值观。”
Band Leader, The Mickey Mouse Club (archival): : The next number will be a ladies tag dance.
米老鼠俱乐部乐队领队（档案）： ：下一个节目将是女士双打舞。
Narrator: : The truth was, Disney's commercial success depended on a certain set of traditional values -- which were sometimes racist and sexist.
旁白：：事实是，迪士尼的商业成功依赖于一套特定的传统价值观——这些价值观有时是种族主义和性别歧视的。
Susan Douglas, Media Historian: : There were a lot of ways Disney ignored major differences in our society, sought to erase them, or sought to keep marginalized people in their place.
苏珊·道格拉斯（Susan Douglas），媒体历史学家：迪士尼通过多种方式忽视了我们社会中的重大差异，试图消除它们，或者试图让边缘化的人保持在原来的位置。
Nancy Olson, Betsy Brainard, The Absent-Minded Professor (archival): : I didn't say I was going to take the position.
Nancy Olson, Betsy Brainard, The Absent-Minded Professor (archival): : I didn't say I was going to take the position.
All I said was --
我所说的只是——
Fred MacMurray, Professor Ned Brainard, The Absent-Minded Professor (archival): : Betsy, no wife of mine is going to work.
弗雷德·麦克默里（Fred MacMurray）、内德·布雷纳德（Ned Brainard）教授、心不在焉的教授（档案）：：贝特西，我的妻子不会去工作。
Not as long as I have a spark of life left in my body.
Not as long as I have a spark of life left in my body.
Narrator: : Disney was aware of the knocks against him, but he wasn't going to let the critics change his work.
Narrator: : Disney was aware of the knocks against him, but he wasn't going to let the critics change his work.
Chorus, Bon Voyage (archival, singing): : Bon Voyage!
合唱团，一路顺风（档案，演唱）：：一路顺风！
Bon Voyage!
一路顺风！
Have a gay holiday!
度过一个同性恋假期！
Ron Miller, Son-in-Law: : There was a film critic for the New York Times , Bosley Crowther, there was this film, and Bosley was criticizing the film for corn.
罗恩·米勒，女婿：：《纽约时报》有一位影评人博斯利·克劳瑟，有这部电影，博斯利批评这部电影是为了玉米。
Too much corn.
玉米太多了。
Just corny.
只是陈词滥调。
Ron Miller, Son-in-Law: : Walt and I happened to have lunch that day, and I said, "Did you happen to see the review?" and he said, "Yeah." He said, "He's got to realize, I like corn.
Ron Miller, Son-in-Law: : Walt and I happened to have lunch that day, and I said, "Did you happen to see the review?"他说：“是的。”他说：“他必须意识到，我喜欢玉米。
I love corn.
我喜欢玉米。
That's what I'm all about."
这就是我的全部意义。”
Chorus, Bon Voyage (archival, singing): : Bon Voyage!
Chorus, Bon Voyage (archival, singing): : Bon Voyage!
Bon Voyage!
一路顺风！
Have a gay holiday and don't forget to write Bon Voyage!
Have a gay holiday and don't forget to write Bon Voyage!
Narrator: : Word started to get around in 1965 that Walt Disney was buying up enormous tracts of land in central Florida.
Narrator: : Word started to get around in 1965 that Walt Disney was buying up enormous tracts of land in central Florida.
By the time Disney was ready to go public, the company already owned 27,000 acres, giving him a building lot bigger than the island of Manhattan.
当迪士尼准备上市时，该公司已经拥有 27,000 英亩的土地，这使得他的建筑面积比曼哈顿岛还大。
W.
W.
Haydon Burns, Governor of Florida (archival): : Walt Disney, who will bring a new world of entertainment, pleasure, and economic development to the state of Florida.
海顿·伯恩斯 (Haydon Burns)，佛罗里达州州长（档案）：：沃尔特·迪士尼 (Walt Disney)，他将为佛罗里达州带来一个娱乐、愉悦和经济发展的新世界。
Walt Disney.
华特迪士尼.
W.
W.
Haydon Burns, Governor of Florida (archival): : What type of attraction and what type of usage will be made at this great location?
Haydon Burns, Governor of Florida (archival): : What type of attraction and what type of usage will be made at this great location?
Walt Disney (archival): : We have many things in mind that could make this unique and different than Disneyland.
沃尔特·迪士尼（档案）：：我们考虑了很多事情，可以使这个乐园变得独特且不同于迪士尼乐园。
Walt Disney (archival): : Well, I've always said there will never be another Disneyland, Governor...
沃尔特·迪士尼（档案）：：嗯，我一直说永远不会再有另一个迪士尼乐园，州长……
Narrator: : Walt remained cagey about the scope and outlines of what he called Project Future.
Narrator: : Walt remained cagey about the scope and outlines of what he called Project Future.
Walt Disney (archival): : …We know the basic things that have this what I call family appeal.
Walt Disney (archival): : …We know the basic things that have this what I call family appeal.
Narrator: : Only a handful of company insiders knew what he was planning: the Experimental Prototype Community of Tomorrow, or EPCOT.
Narrator: : Only a handful of company insiders knew what he was planning: the Experimental Prototype Community of Tomorrow, or EPCOT.
Don Hahn, Animator: : It's like, "I did the mouse.
Don Hahn，动画师：：就像，“我做了鼠标。
That was great.
那很棒。
Yeah, I affected popular culture.
是的，我影响了流行文化。
I made movies and things, but is that a real contribution or is that just popcorn?
我制作了电影和其他东西，但这是真正的贡献还是只是爆米花？
Am I just this fugitive guy that is doling out popular culture for people to consume and it's here today and gone tomorrow?
Am I just this fugitive guy that is doling out popular culture for people to consume and it's here today and gone tomorrow?
Is it fast food?" And I think that turns to thoughts of, "Well, if it is, then what is my legacy?
是快餐吗？”我认为这会转变为这样的想法：“好吧，如果是的话，那么我的遗产是什么？
Nancy Koehn, Historian: : What can you leave the world?
南希·科恩（Nancy Koehn），历史学家：：你能给世界留下什么？
What can you create for the world that will outlast you?
你能为这个比你更长久的世界创造什么？
Well, the city of the future, a city where there is prosperity and possibility and hope.
好吧，未来之城，一座充满繁荣、可能性和希望的城市。
Bob Gurr, Designer: : A lot of people had talked about it, nobody'd really done anything about it, and I got the impression Walt felt that, well, by golly, he could do this.
鲍勃·格尔（Bob Gurr），设计师：：很多人都谈论过它，但没有人真正对此做过任何事情，我的印象是沃尔特觉得，天哪，他可以做到这一点。
Floyd Norman, Animator: : He was now being a futurist, a visionary, and building a functioning, working city of tomorrow, a city that would be a model for the United States and perhaps even for the rest of the world.
弗洛伊德·诺曼（Floyd Norman），动画师：：他现在是一位未来主义者、一位有远见的人，正在建设一座运转良好、运转良好的未来城市，这座城市将成为美国乃至世界其他地区的典范。
Rolly Crump, Designer: : He used to get so goddamn excited about EPCOT.
Rolly Crump，设计师：他曾经对 EPCOT 非常兴奋。
When he'd talk about it, it was like he'd just come back from the moon yesterday.
当他说起这件事的时候，就好像他昨天刚从月球回来一样。
He was just so thrilled.
他太激动了。
Narrator, E.P.C.O.T.
旁白，E.P.C.O.T.
(archival): : No city of today will serve as the guide for the city of tomorrow.
（档案）：：今天的城市无法成为明天城市的指南。
Epcot will be a planned environment, demonstrating to the world what American communities can accomplish through proper control of planning and design, business and commerce.
Epcot 将是一个规划好的环境，向世界展示美国社区可以通过对规划和设计、商业和商业的适当控制来实现什么目标。
Narrator: : Disney's design called for a high-density town center with hotels and corporate offices, a greenbelt for recreation and entertainment, and a low-density residential area with schools and parks and playgrounds.
旁白：迪士尼的设计要求建立一个设有酒店和公司办公室的高密度城镇中心、一个休闲娱乐绿地以及一个设有学校、公园和游乐场的低密度住宅区。
It would all be knit together by the most efficient and convenient public transportation -- and by a common purpose: progress, Disney-style.
这一切将通过最高效、最便捷的公共交通以及一个共同的目标结合在一起：进步，迪士尼式的。
Rolly Crump, Designer: : He wanted all the major companies in the United States to have our research and development organizations as part of EPCOT right next door to each other.
Rolly Crump，设计师：：他希望美国所有大公司都将我们的研发组织作为 EPCOT 的一部分，彼此相邻。
So GE would be right next door to Ford.
所以通用电气就在福特的隔壁。
Ford would be right next door to General Motors.
福特就在通用汽车的隔壁。
All these research divisions for all these big companies would become close.
所有这些大公司的所有研究部门都将变得紧密。
Narrator, E.P.C.O.T.
旁白，E.P.C.O.T.
(archival): : But most important, this entire 50 acres of city streets and buildings will be completely enclosed.
（档案）： ：但最重要的是，这整个 50 英亩的城市街道和建筑物将被完全封闭。
In this climate controlled environment, shoppers and theater-goers and people just out for a stroll will enjoy ideal weather conditions.
在这种气候可控的环境中，购物者、剧院观众以及外出散步的人们将享受理想的天气条件。
Bob Gurr, Designer: : Walt's got these drawings of EPCOT laid out on the table, and we're all talking about everything, and he was pointing out what's going to go here and what's going to go there.
Bob Gurr，设计师：Walt 将 EPCOT 的这些图纸放在桌子上，我们都在谈论一切，他指出什么会去到这里，什么会去到那里。
And he kind of tapped the drawing kind of funny, and uh he said, "Well, I'm going to put this little park bench right here, and Lilly and I are going to sit here we're going to watch people." He's seeing it as a giant project, but he's seeing it as a place where he knows he's going to put his own park bench.
他有点有趣地敲击了这幅画，然后他说，“好吧，我要把这个小公园长椅放在这里，莉莉和我要坐在这里，我们要观察人们。”他将其视为一个巨大的项目，但他将其视为一个他知道他将放置自己的公园长椅的地方。
Narrator: : Disney allowed himself a rare treat in the summer of 1966; he left his studio for a two-week vacation with his wife, daughters, Diane and Sharon, and their growing families.
旁白： 1966 年的夏天，迪士尼给了自己一次难得的享受；他离开工作室，与妻子、女儿黛安（Diane）和莎伦（Sharon）以及他们不断壮大的家庭一起去度假两周。
Ron Miller, Son-in-Law: : This gentleman offered Walt his yacht to tour the coastline of Canada and up into Alaska.
罗恩·米勒（Ron Miller），女婿：这位绅士向沃尔特提供了他的游艇，让他游览加拿大海岸线并进入阿拉斯加。
We had Sharon and Bob and her child, and then we had all our kids.
我们有了莎伦、鲍勃和她的孩子，然后我们有了我们所有的孩子。
His room was right next to our room, and he was coughing an awful lot, all night long.
他的房间就在我们的房间旁边，他整夜咳嗽得很厉害。
Diane was very concerned.
黛安娜非常担心。
But he had fun.
但他玩得很开心。
He said, "We're going to have to do this more often."
他说：“我们将不得不更频繁地这样做。”
Walt Disney, E.P.C.O.T.
华特·迪士尼、E.P.C.O.T.
(archival): : Welcome to a little bit of Florida, here in California.
（档案）：：欢迎来到佛罗里达州的一小部分，加利福尼亚州。
This is where the early planning is taking place for our so-called uh, "Disney World Project." But the basic…
这就是我们所谓的“迪士尼世界项目”的早期规划进行的地方。但基本...
Narrator: : On October 27, 1966, Walt Disney spent the day on the studio soundstage shooting his part in a promotional film about his new pet project.
旁白：1966 年 10 月 27 日，沃尔特·迪士尼 (Walt Disney) 在摄影棚的摄影棚里花了一天的时间拍摄一部关于他的新宠物项目的宣传片。
Walt Disney, E.P.C.O.T.
华特·迪士尼、E.P.C.O.T.
(archival): : The most exciting, by far the most important part of our Florida project, in fact the heart of every thing we'll be doing in Disney World, will be our Experimental Prototype City of Tomorrow.
（档案）：：我们佛罗里达项目中最令人兴奋、最重要的部分，实际上是我们在迪士尼世界所做的每一件事的核心，将是我们的实验原型城市明日。
We call it EPCOT.
我们称之为EPCOT。
Narrator: : The effort winded the 64 year-old so badly he needed oxygen between takes.
旁白：：这个动作让这位 64 岁的老人喘不过气来，他在两次拍摄之间需要吸氧。
Bob Gurr, Designer: : He didn't look good.
鲍勃·格尔（Bob Gurr），设计师：：他看起来不太好。
He didn't feel good.
他感觉不太好。
He just seemed to be almost permanently grumpy.
他似乎总是脾气暴躁。
The word around the lot was, "Well, he's not feeling too well."
周围的人都在说：“嗯，他感觉不太舒服。”
Narrator: : Disney's old polo injury was giving him trouble.
旁白：：迪士尼的马球旧伤给他带来了麻烦。
His neck hurt; his shoulder hurt; he was having trouble with his hip and sometimes dragged his leg when he walked.
他的脖子很痛；他的肩膀受伤了；他的臀部有问题，走路时有时会拖着腿。
"My nerves are shot to hell," he admitted to Hazel George.
“我的神经快要崩溃了，”他向黑泽尔·乔治承认。
"And the pain is driving me nuts." He finally gave in and scheduled spinal surgery, but in the pre-operative exam at a hospital across the street from the studio, doctors discovered something else to be worried about: a mass on one of his lungs.
“疼痛让我发疯。”他最终屈服并安排了脊柱手术，但在工作室街对面一家医院的术前检查中，医生发现了其他值得担心的事情：他的一个肺部有肿块。
The diagnosis was cancer; the prognosis was bad.
诊断结果是癌症；预后很差。
Doctors told him he had two years at most.
医生告诉他，他最多还有两年的时间。
Ron Miller, Son-in-Law: : Walt, the optimist that he was, felt he was going to lick it.
罗恩·米勒（Ron Miller），女婿：：沃尔特，他是个乐观主义者，觉得他会接受它。
He said, "You know, it's one of these things.
他说：“你知道，这是其中之一。
I've smoked all my life, and I've seen people who have smoked all their life and they didn't have lung cancer.
我抽了一辈子烟，也见过一些抽了一辈子烟却没有得肺癌的人。
I thought it would never happen to me.
我以为这永远不会发生在我身上。
And it happened."
它发生了。”
Richard M.
理查德·M。
Sherman, Composer and Lyricist: : Nobody let us in on it.
谢尔曼，作曲家兼作词家：：没有人让我们参与其中。
Maybe some of the inner circle might have known it was more serious.
也许核心圈子里的一些人可能已经知道事情的严重性。
But I didn't.
但我没有。
And one day we were looking at a rough cut of this film, and Walt was there in the hall.
有一天，我们正在看这部电影的粗剪版，沃尔特就在大厅里。
And as he passed us, in the hall, we were standing there, he looked at us and he said, "Keep up the good work, fellas." It's the first time, and the only time, he ever complimented our work, and he winked at us, and walked down the hall.
当他在大厅里经过我们时，我们站在那里，他看着我们说：“继续努力，伙计们。”这是他第一次，也是唯一一次称赞我们的工作，他向我们眨了眨眼，然后沿着大厅走去。
Narrator: : Walt did not return to the studio as usual the next day.
旁白：：第二天沃尔特没有像往常一样回到工作室。
He checked himself back into the hospital instead.
他反而回到医院检查自己。
Alice M.
爱丽丝·M。
Davis, Costume Designer: : Roy would get up very early in the morning and go to see Walt.
戴维斯，服装设计师：：罗伊一大早就起床去看沃尔特。
And Walt always complained about his feet being cold, so Roy would stand there and rub his feet and get them warm.
而沃尔特总是抱怨自己的脚冷，所以罗伊就会站在那里给他揉脚取暖。
Narrator: : On the night of December 14th, 1966, Walt sent Lillian home from his bedside to get some rest.
旁白： 1966年12月14日晚上，沃尔特将莉莲从床边送回家休息。
He promised her he was feeling stronger.
他向她保证他感觉更坚强了。
Roy stayed behind, and sat at the bedside while his kid brother, flat on his back, pointed up to the ceiling tiles, trying to explain the vision of Disney World and EPCOT that shimmered before him, trying to make Roy see it as he did.
罗伊留在后面，坐在床边，而他的小弟弟则仰面朝天，指着天花板，试图解释在他面前闪烁的迪士尼世界和未来世界的景象，试图让罗伊像他一样看到它。
"Now there is where the highway will run," he explained.
“现在高速公路将在那里运行，”他解释道。
"And there is the route for the monorail."
“还有单轨铁路的路线。”
Ruthie Tompson, Ink and Paint Artist: : I went down to get my haircut.
Ruthie Tompson，墨水和绘画艺术家：：我去理发。
And it was a gal in the barbershop, and she was cutting my hair and she says, "Too bad about Walt." And I said, "Oh, he's going to be okay.
那是理发店里的一个女孩，她正在给我剪头发，她说：“沃尔特太糟糕了。”我说：“哦，他会没事的。
He'll be back next week." "No. He died." Well, I couldn't get out of that chair quicker to get home.
他下周就会回来。” “不。他死了。”好吧，我无法更快地离开那张椅子回家。
And my mother, my cousin, are just like this.
而我的妈妈，我的表弟，也是如此。
They wouldn't even talk to me.
他们甚至不肯跟我说话。
Well, that was a bad day.
嗯，那是糟糕的一天。
Ron Miller, Son-in-Law: : I was next door at the studio.
罗恩·米勒（Ron Miller），女婿：：我在工作室的隔壁。
And I rushed over, and he was gone.
我冲了过去，他却不见了。
Richard M.
理查德·M。
Sherman, Composer and Lyricist: : I heard somebody shrieking and running down the hall.
作曲家兼作词家谢尔曼：：我听到有人尖叫着跑过大厅。
It was one of the secretaries.
这是其中一位秘书。
And I opened the door, and everybody was rushing into the hallway.
我打开门，每个人都冲进走廊。
"Walt died." Nobody could believe it.
“沃尔特死了。”没有人相信。
And we all gathered in Bill Anderson's office, a whole bunch of us.
我们一大群人都聚集在比尔·安德森的办公室里。
And they were crying.
他们在哭。
Men were crying.
男人们都在哭。
I was crying.
我哭了。
It was terrible, it was horrible.
太可怕了，太可怕了。
It was just horrible.
太可怕了。
Rolly Crump, Designer: : I was in my office in the model shop and John Hench came out and told me Walt passed.
Rolly Crump，设计师：：我当时在模型店的办公室里，John Hench 出来告诉我 Walt 去世了。
And everybody was just, you know, it was just like it'd taken the breath out of us.
每个人都只是，你知道，这就像让我们喘不过气来一样。
It was like the end of the world.
就像世界末日一样。
Like the end of the world.
就像世界末日一样。
News Announcer #1 (archival audio): : Walt Disney is dead tonight, at the age of 65.
新闻播音员#1（档案音频）：：沃尔特·迪士尼今晚去世，享年 65 岁。
News Announcer #2 (archival audio): : ...undergone surgery last month for removal of part of his left lung...
新闻播音员#2（档案音频）：：……上个月接受了手术，切除了部分左肺……
News Announcer #3 (archival audio): : He won 29 Oscars, 4 Emmys, the Irving Thalberg Award...
新闻播音员#3（档案音频）：：他赢得了 29 项奥斯卡奖、4 项艾美奖、欧文·托尔伯格奖……
News Announcer #4 (archival audio): : Walt Disney, Hollywood's Prince of Fantasy.
新闻播音员#4（档案音频）：：沃尔特·迪士尼，好莱坞的幻想王子。
Narrator: : Walt Disney's death was front-page news the next day, across the country and around the world.
旁白：：沃尔特·迪士尼的去世第二天成为全国和世界各地的头版新闻。
News Announcer #1 (archival audio): : Of his success, Disney has said, "There's no magic formula.
新闻播音员#1（档案音频）：：关于他的成功，迪士尼曾说过：“没有什么神奇的公式。
Children all over the world have one thing in common, love of laughter."
世界各地的孩子都有一个共同点，那就是爱笑。”
Narrator: : In the year after he died, nearly seven million people visited Disneyland.
旁白：：在他去世后的一年里，有近七百万人参观了迪士尼乐园。
Tens of millions around the world listened to a Disney record, or bought Disney-licensed merchandise, or tuned into Walt's television show.
全世界有数以千万计的人听过迪士尼唱片，或者购买了迪士尼授权的商品，或者收看沃尔特的电视节目。
Hundreds of millions saw one of Walt Disney's movies.
数亿人观看了华特·迪士尼的一部电影。
Carmenita Higginbotham, Art Historian: : That sense of happiness, that sense of American identity, those are things that you want to achieve and Disney offers that to you.
Carmenita Higginbotham，艺术史学家：：那种幸福感，那种美国认同感，这些都是你想要实现的东西，而迪士尼为你提供了这些。
Neal Gabler, Biographer: : He's either the man who ruined American culture and brought all of this fakeness into our lives, or he's the man who inspired us and gave us hours and hours of entertainment.
传记作者尼尔·加布勒：他要么是那个毁了美国文化、把所有这些虚假带入我们生活的人，要么就是那个激励我们、给我们带来数小时娱乐的人。
Don Hahn, Animator: : Walt Disney represented more than just a guy.
唐·哈恩 (Don Hahn)，动画师：沃尔特·迪士尼代表的不仅仅是一个人。
He was an ethos.
他是一种精神。
He was a way of approaching life.
他是一种对待生活的方式。
And whether you hated him or loved him there was no one that could argue with his effect on 20th century culture.
无论你恨他还是爱他，没有人可以否认他对 20 世纪文化的影响。
Sarah Nilsen, Film Historian: : What does it mean when we leave childhood behind?
电影史学家莎拉·尼尔森：当我们告别童年时，这意味着什么？
How do we deal with death?
我们如何面对死亡？
They're questions all humans deal with no matter what period, no matter what culture.
它们是所有人类都会面临的问题，无论什么时期，无论何种文化。
Ron Suskind, Writer: : Disney goes back and taps old myths and old narrative arcs that are deeply rooted in all of us.
罗恩·苏斯金德（Ron Suskind），编剧：迪士尼回顾并挖掘了根深蒂固在我们所有人心中的古老神话和古老叙事弧线。
What is the meaning of my life, what is my journey really born of?
我生命的意义是什么，我的旅程真正诞生于什么？
How can I discover who I am?
我怎样才能发现我是谁？
Carmenita Higginbotham, Art Historian: : He affects all of us.
Carmenita Higginbotham，艺术史学家：：他影响着我们所有人。
No one is untouched by Walt Disney.
没有人不曾受到沃尔特·迪士尼的影响。
Neal Gabler, Biographer: : There aren't that many figures in American culture who cover as many bases, who do as many things, as Walt Disney.
传记作者尼尔·加布勒：在美国文化中，没有多少人物像沃尔特·迪士尼那样涉足如此多的领域，做过如此多的事情。
Disney was somebody who understood the American psyche.
迪士尼是一个了解美国人心理的人。
He was also someone who anticipated the future of the American psyche.
他也是预见到美国精神未来的人。
He understood a whole lot about us.
他非常了解我们。
In its first year, Snow White and the Seven Dwarfs grossed $8 million.
《白雪公主和七个小矮人》上映第一年就收获了 800 万美元的票房。
Animator Don Hahn discusses the importance of music in Walt Disney's feature animations.
动画师唐·哈恩 (Don Hahn) 讨论音乐在华特迪士尼动画长片中的重要性。
Although he was head of a successful film studio, at home, Walt Disney was just "dad" to his two daughters, Diane and Sharon.
尽管沃尔特·迪士尼是一家成功的电影制片厂的负责人，但在家里，他只是他的两个女儿黛安和莎伦的“爸爸”。
For a young Walt Disney, Marceline, Missouri provided the setting for an idyllic childhood.
对于年轻的华特·迪士尼来说，密苏里州的玛瑟琳为他提供了田园诗般的童年环境。
Walt Disney was aware of the gap between himself and the persona he had created for public consumption.
沃尔特·迪士尼意识到自己与他为公众消费而创造的角色之间的差距。
Walt Disney had to come up with something "new and clever in animated cartoons" to save his Laugh-O-grams company.
沃尔特·迪士尼必须想出一些“动画中新颖而巧妙的东西”来拯救他的 Laugh-O-grams 公司。
He was almost named Mortimer Mouse.
他差点被命名为莫蒂默老鼠。
How did Walt Disney and his team dream up the new animated star?
沃尔特·迪士尼和他的团队是如何构思出这位新的动画明星的？
The premiere of Steamboat Willie blows audiences away with its innovative use of sound.
《威利汽船》的首映以其创新的声音运用让观众惊叹不已。
Mickey Mouse soon becomes a phenomenon.
米老鼠很快就成为一种现象。
Walt Disney gathered his animators and studio staff together and told them of his newest idea.
沃尔特·迪士尼将他的动画师和工作室工作人员聚集在一起，告诉他们他的最新想法。
Composer Richard Sherman recalls Walt Disney's leadership style and how he drew great ideas out of his staff.
作曲家理查德·谢尔曼回忆了沃尔特·迪士尼的领导风格以及他如何从员工身上汲取伟大的想法。
What Walt Disney was proposing for Snow White and the Seven Dwarfs had never been done before.
华特·迪士尼为《白雪公主和七个小矮人》提出的建议以前从未实现过。
Walt Disney's Bambi was released in August of 1942 and stood out as the most ambitious feature-length film in the history of the studio.
华特迪士尼 (Walt Disney) 的《斑比》 (Bambi) 于 1942 年 8 月上映，成为该工作室历史上最雄心勃勃的长片。