
Chinese: 
嗨，Wisecrack。
贾里德在这里对克里斯托弗·诺兰的奇怪，狂野的思想进行了第三次也是最后的探索。
在我们的第一部分中，我们检查了诺兰关于自我绘制关系图的想法
在我们的主观感受和客观现实的概念之间。
不幸的是，我们的调查仍然来得太晚，无法挽救可怜的泰迪
在第二部分中，我们使用诺兰的黑暗骑士三部曲来讨论脆弱
社会的动态，以及社会规范被符号检验和颠覆的方式，
通过欲望，并且经常通过笨重的面具捣蛋。
“世界街头！
控制你的城市！“
现在，在我们的第三幕中，我们将试图通过观察宇宙来寻找一些宣泄
为了回应人类脆弱的本性。
“我想知道我们在哪里 - 我们要去哪里。”

English: 
Hi, Wisecrack.
Jared here with our third and final exploration
of Christopher Nolan’s weird, wild mind.
In our first installment, we examined Nolan’s
idea of the self -- charting the relationships
between our subjective perceptions and the
notion of objective reality.
Unfortunately, our investigation still came
too late to save poor Teddy.
In the second installment, we used Nolan’s
Dark Knight trilogy to discuss the fragile
dynamics of society, and the ways in which
social norms are tested and upended by symbols,
by desire, and, all too often, by hulking
weirdos in masks.
"Gotham!
Take control of your city!"
And now, in our third act, we’ll attempt
to find some catharsis by looking to the universe
for a response to the fragile nature of humanity.
“I want to know where we are - where we’re
going.”

English: 
So strap in, because this is the final installment
of the Philosophy of Christopher Nolan — oh,
and we'll be answering your questions for
the first hour in the comments, so we'll see
ya there!
And of course, Spoilers Ahead.
Whereas Nolan’s previous works focused on
the inevitable conflict inherent in humanity’s
rational nature, Interstellar attempts to
transcend these burdens by looking to the
broad expanses of the universe in hopes of
jettisoning us from the social and physical
restraints explored in videos One and Two
of this series.
By merging a sense of wide-eyed wonder with
the thrilling advancements of science, Nolan
helps Cooper, and us, break free of the expectations
leveled against the self and society.
From as early as its opening scenes, Interstellar
situates its protagonist, Cooper, as an ambitious
innovator, but also as a clear-eyed advocate
for science and reason.
“Record the facts.
Analyze.
Get to the how and the why, and present your
conclusions.”
He’s also a guy with a pretty healthy skepticism
of power and authority.
"It's an old federal textbook.
We've replaced them with the corrected versions."
"Corrected?"

Chinese: 
因此，这是克里斯托弗·诺兰哲学的最后一部分 - 哦，
我们会在评论的第一个小时回答你的问题，所以我们会看到
你在那里！
当然，还有Spoilers。
诺兰以前的作品集中在人类固有的不可避免的冲突上
理性，星际试图通过观察来超越这些负担
广阔的宇宙，希望从社会和物质中抛弃我们
在本系列视频的第一和第二部分中探讨了限制。
通过将一种睁大眼睛的奇迹与科学的惊心动魄相结合，诺兰
帮助库珀和我们摆脱对自我和社会的期望。
早在其开幕式的场景中，星际将它的主角库珀置于雄心勃勃的位置
创新者，也是科学和理性的明确倡导者。
“记录事实。
分析。
了解方法和原因，并提出你的结论。“
他也是一个对权力和权威持怀疑态度的人。
“这是一本古老的联邦教科书。
我们用更正的版本替换了它们。“
“更正？”

English: 
But before the film’s adventure is done
with him, Cooper will have to reconcile his
data-driven beliefs with the mind-expanding
unpredictability of the great beyond.
Although Cooper is firmly committed to his
own sense of practicality, he is eventually
forced to navigate the fluid boundaries between
the “real” and the “irreal,” the latter
of which is a concept introduced by American
philosopher Nelson Goodman.
But what is the irreal, exactly?
In his work, The Ways of Worldmaking, Goodman
explored the notion of “alternative world
versions.”
At its most basic interpretation, this concept
allows for everything from art to mathematics
to be perceived and understood in a variety
of ways.
Take a look at this piece of art, for example
-- and you might see a woman’s face or a
vase.
Both interpretations here are correct, in
total, but only one interpretation is correct
through one particular context at a time.
And this, in essence, is the art of irreality.
That there are multiple ways to look at the
world, and no one method is better in every
instance.
As such, the way the film’s mysterious beings
experience the universe opens up a space for

Chinese: 
但在电影的冒险与他完成之前，库珀将不得不调和他的
数据驱动的信念与超越的思想扩张不可预测性。
虽然库珀坚定地致力于他自己的实用性，但他最终还是如此
被迫导航“真实”和“虚幻”之间的流畅边界
其中是美国哲学家尼尔森古德曼提出的概念。
但究竟什么是不真实的呢？
在他的作品“世界制造方法”中，古德曼探索了“替代世界”的概念
版本“。
从最基本的解释来看，这个概念允许从艺术到数学的一切
以各种方式被感知和理解。
例如，看看这件艺术品 - 你可能会看到一个女人的脸或者
花瓶。
这两种解释总的来说是正确的，但只有一种解释是正确的
通过一个特定的背景。
从本质上讲，这是不可靠的艺术。
有多种方式可以看待这个世界，而且每种方法都没有一种方法更好
实例。
因此，电影的神秘生物体验宇宙的方式为这个空间开辟了空间

English: 
a new way to experience and know the universe.
Just not in the way we’re used to, with
you know, time as a thing that passes..
In space,Cooper is confronted with the irreal:
nothing abides by his conventional ideas of
time, or even cause and effect.
Cooper, as a man of science, has some difficulty
adjusting to a new normal.
And through that difficult adjustment, Nolan
is openly able to question the physical, spatial,
and chronological laws that we, and Cooper,
have long believed are absolute.
Throughout much of Interstellar, time and
space do not interact with us in ways we might
traditionally expect.
And neither, as it turns out, does all-American
hero Matt Damon.
On a new plane of existence, in which even
time can be warped-- "Gravity on that planet
will slow our clock compared to Earth's.
Drastically."
(...) "Every hour we spend on that planet
will be 7 years back on Earth.
That's relativity, folks."
--what, asks Nolan, is left to ground us humans?
What lighthouse is there to help us navigate?

Chinese: 
一种体验和了解宇宙的新方法。
就像你知道的那样，只是不习惯我们已经习惯的时间......
在太空中，库珀面对的是虚幻：没有任何东西遵守他的传统观念
时间，甚至因果关系。
库珀作为一名科学家，在适应新常态方面遇到了一些困难。
通过这种艰难的调整，诺兰公开能够质疑物理，空间，
我们和库珀一直认为的时间顺序是绝对的。
在Interstellar的大部分时间里，时间和空间都不会以我们可能的方式与我们互动
传统上期望。
事实证明，并非所有美国英雄马特达蒙都是如此。
在一个新的生存平面上，即使是时间也可以扭曲 - “那个星球上的重力
与地球相比，我们的时钟会减慢。
大幅“。
（...）“我们在这个星球上度过的每一个小时都将在地球上回归7年。
那是相对论，伙计们。“
- 诺兰问道，是什么让人类留下了地面？
什么灯塔可以帮助我们导航？

Chinese: 
给我们目的和方向？
值得庆幸的是，Interstellar不仅提出了这个问题;它提供了答案。
而那个答案是技术无法触及的地方 - 人类的情感。
虽然Interstellar的角色经常怀疑什么是真实的，什么是值得信赖的
- 他们充满了鼻涕，泪流满面的深刻情感体验 - 为他们提供
镇流器，专注，并决心看到他们的冒险直到最后。
而人类的那些组成部分是科学本身无法提供的各种事物。
事实上，在影片开头附近，有人认为坠机降落让库珀陷入困境
航空事业是他单靠技术的结果。
“我们应该轻松 - ”“我能看到他们的手，凯斯。
我唯一一次倒下的时候是机器在错误的时间放松。“
但最终，这是人类的联系和情感 - 包含在布兰德博士的爱中
对于埃德蒙兹博士来说，他带领这些工作人员前往他们如此拼命寻找的可居住的星球。
“爱是我们能够感知的超越时空的一件事。
也许我们应该相信，即使我们还不能理解它。“

English: 
To give us purpose and direction?
Thankfully, Interstellar not only poses this
question; it provides its answer.
And that answer is the one place technology
cannot touch -- human emotion.
Although the characters of Interstellar frequently
doubt what is real, and what is trustworthy
-- their snot-filled, tear-drenched deeply
emotional experiences -- provide them with
the ballast, focus, and resolve to see their
adventure through to the end.
And those components of humanity are the very
sorts of things science alone can’t provide.
In fact, near the beginning of the film, it’s
suggested the crash landing that stalled Cooper’s
aviation career was a result of his reliance
on technology alone.
"We should ease-" "Hands where I can see 'em,
Case.
The only time I ever went down was when a
machine was easing at the wrong time."
But ultimately, it’s human connection and
emotion -- encapsulated in Dr. Brand’s love
for Dr. Edmunds -- that lead this crew to
the habitable planet they so desperately seek.
"Love is the one thing we're capable of perceiving
that transcends time and space.
Maybe we should trust that even if we can't
understand it yet."

Chinese: 
这并不是说这部电影是反科学的。
离得很远。
相反，它表现出更复杂的东西 - 科学是必要的，但它本身就是
发现之旅的条件不足。
仅凭科学无法解决我们有限的资源，身份或社会暴力问题。
在星际中，科学需要更多东西。
它需要情感 - 它需要爱 - 来加油和引导它。
它需要人类的主观性，使我们超越事实，数字和闪亮的铬。
“他们可以获得无限的时间和空间，但他们不受任何限制。
他们找不到具体的地方，他们无法沟通。
这就是我在这里的原因。“
从这个意义上讲，星际代表了克里斯托弗的一个顶点
诺兰的经历。
面对来自自我和社会的身份问题，Interstellar
通过展示科学进步如何与人类经验的无形资产相结合来回应

English: 
That’s not to say the film is anti-science.
Far from it.
Instead it demonstrates something more complex
— that science is a necessary but, by itself,
is an insufficient condition for a journey
of discovery.
Science alone can’t solve our problems of
limited resources, identity, or societal violence.
In Interstellar, science needs something more.
It needs emotion — it needs love — to
fuel and guide it.
It requires human subjectivity that launches
us beyond facts and figures and shiny chrome.
"They have access to infinite time and space,
but they're not bound by anything.
They can't find a specific place in time,
they can't communicate.
That's why I'm here."
And, in that sense, Interstellar represents
something of a capstone in the Christopher
Nolan experience.
In the face of the questions of identity that
arise from the self and from society, Interstellar
responds by showing how scientific advancements,
merged with the intangibles of the human experience,

English: 
provide us with the necessary thrust towards
new frontiers and personal liberation.
“If there’s an answer here on Earth, it’s
back there, in that room.”
Of course, the technology exhibited in Interstellar
is not of today’s world -- it’s instead
rooted in speculative fiction.
And where the film itself even acts as an
elegant marriage of science and imagination,
it shows us worlds and innovations we’ve
never seen before.
With Interstellar, Christopher Nolan confronts
us with the power of hyperstitional cinema
-- image-driven storytelling of an imagined
future that can influence, and emotionally
fuel, us in the present.
And that future urges us to make the irreal
real.
Even if we have to -- crawl through the uncertainties
of time and space to do it.
At least we’re fueled by love along the
way.
With Interstellar, Nolan presents new worlds
and realities that push us far from the violent,
self-destructive climate of the Dark Knight
trilogy or Memento.
And in these new worlds, Nolan offers us an
optimistic glimpse of our own possible future.

Chinese: 
为我们提供了迈向新领域和个人解放的必要推动力。
“如果地球上有答案，它会回到那个房间。”
当然，Interstellar展出的技术并不属于今天的世界 - 相反
植根于思辨小说。
电影本身甚至可以作为科学和想象力的优雅结合，
它向我们展示了我们从未见过的世界和创新。
通过Interstellar，Christopher Nolan面对我们的超级电影的力量
- 图像驱动的故事讲述想象的未来，可以影响和情感
燃料，我们在现在。
而这种未来促使我们将虚幻变为现实。
即使我们必须 - 抓住时间和空间的不确定性来做到这一点。
至少我们一路上都被爱所推动。
通过Interstellar，Nolan呈现出新的世界和现实，使我们远离暴力，
黑暗骑士三部曲或纪念品的自毁气候。
在这些新世界中，诺兰向我们提供了对我们自己可能的未来的乐观一瞥。

Chinese: 
那么他为什么要和敦刻尔克一起讲述这个故事，这是一部关于盟军从血腥中撤离的电影
1940年的战争冲突？
或许简短的回答是，敦刻尔克也是关于我们的未来。
在Interstellar和Dunkirk中，Nolan将他的观众联合起来庆祝不屈不挠的人
人的精神 - 男人和女人本质上是好的观念。
我们每个人都坚持不懈的观念。
这在诺兰最近的大部分工作中都很明显，包括黑暗骑士崛起 - 当时
猫女告诉蝙蝠侠她正在拯救并向她保证她不是英雄，只能证明
她在第十一个小时错了。
有多甜。
Interstellar通过使用爱来进一步增强人类尊严和能力
把库珀推到他旅程的最后。
库珀自己的不屈不挠的精神，在他对女儿的爱中得到了强有力的推动，证明了这一点
足以确保他的成功。
什么可以是一个更清楚的情感效力的例子 - 坚持不懈的坚持
- 比英国人称之为“敦刻尔克精神”？

English: 
So why did he follow this story with Dunkirk,
a film about the Allied evacuation from bloody
wartime conflict in 1940?
The short answer, perhaps, is that Dunkirk
is about our future, too.
In both Interstellar and Dunkirk, Nolan unites
his audience in celebrating the indomitable
spirit of the human -- the notion that man,
and woman, is essentially good.
The notion that each of us is built to persevere.
This is evident in much of Nolan’s recent
work, including The Dark Knight Rises -- when
Catwoman tells Batman she’s bailing and
assures him she’s no hero, only to prove
herself wrong in the eleventh hour.
How sweet.
Interstellar furthers this cheerful embrace
of human decency and capability by using love
to push Cooper all the way to the end of his
journey.
Cooper’s own indomitable spirit, powerfully
fueled by his love for his daughter, proves
enough to ensure his success.
What could be a clearer example of that emotional
potency -- that unflappable will to persevere
-- than what the British refer to as “The
Dunkirk Spirit”?

English: 
A term that’s been used to convey solidarity
since the days of that bloody battle in World
War II?
The “Dunkirk Spirit” is defined by a sense
of community -- a “willingness by a group
of people who are in a bad situation to all
help each other.”
The film invests a deep sense of communal
spirit -- a spirit best embodied, in Mr. Dawson.
Despite lacking any military technology, this
guy pilots his small boat into violent conflict,
commits himself to saving the lives of strangers,
and emerges victorious, thanks to sheer power
of will.
"We haven't turned around?"
"We have a job to do."
Mr. Dawson’s instrumentation is not technical
but internal -- the step beyond Interstellar
-- and the purest possible connection between
the self, society, and the spiritual unknown.
Much like Dr. Amelia Brand in Interstellar,
Mr. Dawson is resolutely piloted by love.
Mr. Dawson was unable to save his oldest son
in the war, but by rescuing as many as possible,
he, in a sense, saves the conceptual image
of his son -- with each life Mr. Dawson rescues,
he’s saving the sons of his fellow countrymen.
"How do you know that stuff anyway?"
"My son's running you lot.

Chinese: 
自从世界血腥战斗的那些日子以来，这个术语被用来传达团结
二战？
“敦刻尔克精神”的定义是一种社区意识 - 一种群体的意愿
那些情况很糟糕的人互相帮助。“
这部电影在道森先生身上投入了深刻的共同精神 - 一种最能体现的精神。
尽管缺乏任何军事技术，这个家伙将他的小船驾驶成暴力冲突，
由于纯粹的力量，他致力于拯救陌生人的生命，并取得胜利
意志
“我们还没有转过身来？”
“我们有工作要做。”
道森先生的仪器不是技术性的，而是内部的 - 超越星际的步骤
- 自我，社会和精神未知之间最纯粹的联系。
就像星际中的阿米莉亚·布兰德博士一样，道森先生坚定地被爱情驾驶。
道森先生无法在战争中拯救他的大儿子，但通过尽可能多的拯救，
从某种意义上说，他拯救了儿子的概念形象 - 道森先生救出的每一个生命，
他正在拯救同胞的儿子们。
“你怎么知道这些东西呢？”
“我的儿子跑了你很多。

English: 
I knew he'd see us through."
And you know what?
That achievement might just be something even
more noble and significant.
In the realm of the Indomitable Human Spirit,
Dunkirk suggests, sometimes the irreal is
more real than real.
Not only is this seen in the choices the characters
make, but in the way the film is constructed.
Dunkirk is structured in such a way so as
to reveal the purest distillation of this
communal concept.
“I didn’t want to tell a story in words.
I didn’t want the theatrics of people telling
the audience why you should care about them.
I wanted them to care just because of the
physical situation they were under.”
Where many of Nolan’s previous films have
been criticized for being too long, too dialogue-heavy,
and too expository, Dunkirk clocks in at only
107 minutes, offers backstory for almost none
of its characters, and really doesn’t have
much interest in conversation.
In other words, Nolan created a sense of solidarity
between the viewers and soldiers without relying
on the the tools often used to draw in audiences.
Essentially-, it plunks us here.

Chinese: 
我知道他会看到我们通过。“
你知道吗？
这一成就可能只是更加高尚和重要的事情。
在不屈不挠的人类精神领域，敦刻尔克建议，有时候是虚幻的
比真实更真实。
这不仅可以在角色的选择中看到，而且可以在电影的构建方式中看到。
敦刻尔克以这样的方式构建，以揭示最纯粹的蒸馏
共同的概念。
“我不想用语言讲故事。
我不想让人们告诉观众为什么你应该关心他们。
我希望他们只关心他们所处的身体状况。“
Nolan以前的许多电影都被批评为太长，对话太重，
敦刻尔克只有107分钟的时间表，几乎没有提供背景故事
它的人物，对谈话真的没什么兴趣。
换句话说，诺兰在没有依赖的情况下在观众和士兵之间创造了一种团结感
关于经常用于吸引观众的工具。
从本质上讲，它在这里掠夺我们。

Chinese: 
随着每一颗子弹的射击，每艘船都被摧毁，敦刻尔克的目的是获得心理
“情感共情”的概念，不仅仅是知道或理解某人的能力
是感觉，但感觉到它发生之前的感觉。
在谈到敦刻尔克的制作时，诺兰说他的目标是创造“虚拟世界”
没有耳机的现实。“
换句话说，为观众提供完全情感体验。
诺兰是否成功达到了这个目标取决于每个观众的决定。
但科学，技术和想象力的融合创造了身临其境的感觉
参加“敦刻尔克精神”？
好吧，这可能只是Nolan对我们每个人在呼唤时的最大呼声
并完善我们想要的自我，社会和未来。
诺兰最近的一部电影并没有给他带来一大堆奥斯卡提名 - 它
他还汇集了他早期作品的主线，最终展现了他的力量
爱和人的精神。
克里斯托弗·诺兰是今天工作的有趣电影制作人之一。

English: 
With every bullet fired, and with every ship
destroyed, Dunkirk aims to access the psychological
concept of “affective empathy,” the ability
not just to know or to understand what someone
is feeling, but to feel that feeling before
it occurs.
In interviews about the production of Dunkirk,
Nolan said his ambition was to create “virtual
reality without the headset.”
In other words, a fully affective experience
for the viewer.
Whether Nolan successfully reached this goal
is up to each individual viewer to decide.
But the blending of science, technology, and
imagination to create an immersive sense of
participation in “the Dunkirk Spirit”?
Well, that might just be Nolan’s loudest
call to each of us to bind together in shaping
and perfecting the self, society, and future
that we want.
Nolan’s most recent film didn’t just bring
him a boatload of Oscar nominations -- it
also brought together the threads of his earlier
work, ultimately illustrating the power of
love and the human spirit.
Christopher Nolan is one of the interesting
filmmakers working today.

English: 
His movies aren’t only visceral and exciting,
but also extremely thoughtful- a rare blend
in today’s Hollywood.
This is merely our interpretation of his work,
but as with any master craftsman, his work
will continue to inspire new thought for years
to come.
Thanks for watching guys.
Hope you enjoyed our Christopher Nolan Trilogy. Peace!

Chinese: 
他的电影不仅内心而且令人兴奋，而且极其周到 - 这是一种罕见的融合
在今天的好莱坞。
这仅仅是我对他作品的诠释，但与任何大师级工匠一样，他的作品
将继续激发未来几年的新思路。
谢谢你们的观看。
希望你喜欢我们的克里斯托弗诺兰三部曲。和平！
