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【水世界】的前製設定與現場劇照
WATERWORLD (1995)
In celebration of today’s anniversary of this wet mess/epic. Let’s celebrate the hard work this crew put into bringing this world to life. Water movies are never easy but when it comes to this movie anytime you bring it up and a crew member from it is in earshot, the stories pour out. Not always bad, I know a AC that said he had a blast, he loved the boat rides out and all the camaraderie the crew had to have to get thru it. To all the crew that helped bring WATERWORLD to life, We salute you and thanks for the memories. I personally enjoy this hot mess of a movie, it’s one of the last ones of its kind...done practically...in a way.
let’s take a deepest of dives into WATERWORLD
The director, Kevin Reynolds, knew there would be problems before production had even started, “During pre-production. Because having never shot on water to that extent before, I didn’t really realise what I was in for. I talked to Spielberg about it because he’d gone to do Jaws, and I remember, he said to me, “Oh, I would never shoot another picture on water”.
“When we were doing the budget for the picture, and the head of the studio, Sid Sheinberg, we were talking about it and I said, “Steven told me that on Jaws the schedule for the picture was 55 days, and they ended up shooting a 155 days”. Because of the water. And he sat there for a moment and he said, “You know, I’m not sure about the days, but I do know they went a hundred percent over budget”. And so, Universal knew the potential problems of shooting on water. It’s monstrous.”
The film began with a projected budget of $100 million which had reportedly increased to $175 million by the end of production. The principle photography had overrun for at least thirty days more than originally planned due to one major decision.
Whereas today they would film in water tanks with partially built sets, employing green screens to fake the locations, back in 1995 they decided to build everything full size and shoot out on the ocean.
This causes extra logistical problems on top of those that already come with making a major action blockbuster. Cast and crew have to be transported to sets. The camera boats and sets float out of position and will have to be reset between takes taking up valuable production time.
The first draft of Waterworld was written by Peter Radar, a Harvard graduate who wanted to break into the film business. His contact in the film industry was Brad Kevoy, an assistant to the legendary director Roger Corman.
Roger Corman is best known for making films very quickly on a small budget. He also liked to give young talent a chance to direct and write their own films. Brad informed Peter that if he could write a Mad Max rip off, he would arrange to finance and let him direct the picture.
Radar came back and pitched the idea for what would become Waterworld. Kevoy took one look at him and said,
“Are you out of your mind? This would cost us three million dollars to make this movie!”
So Radar kept hold of the idea and decided to re-write the script but, this time, going wild. He wrote what he wanted to see on-screen, limited only by his imagination, not a real world production budget.
He managed to get the newly written script shown to a pair of producers with whom he had made contact with. They loved it and ironically they passed it onto Larry Gordon. He shared the enthusiasm saying it had the kind of cinematic possibilities he was looking for. A deal was signed on Christmas Eve of 1989.
As further script rewrites progressed, it became clear that Waterworld was too big for the Larry Gordon’s production company to undertake by themselves. In February 1992, a deal was signed with Universal Pictures to co-produce and co-finance the film. This was now six years after the first draft had been written.
Universal had signed director Kevin Reynolds to Waterworld. Whilst he was finishing his latest film, Rapa Nui, pre-production for Waterworld was already underway.
The decision was taken that the largest set for the film, known as the atoll, would be built full size. The atoll was the primary location for film and in the story served as the location for a small population of survivors.
The logic behind this decision was due to the high percentage of live action filming required in this location, as well as a huge action set piece. No sound stage would be big enough to incorporate this number of scenes and it was crucial that we see the mariner sail his boat into the atoll, turn around and set out again. A full-size construction was the only way to go as the use of miniature and special effects would be impractical.
The next problem was deciding where to build this huge set. After much research, Kawaihae Harbour in Hawaii was chosen as the location. The atoll could be constructed in the harbour and rotated when needed thus allowing for open sea in the background. Later towards the end of principle photography, the atoll could be towed out into the open sea for the filming of the big action sequences which would be impractical to shoot in an enclosed harbour.
Director Kevin Reynolds also discussed the possibility of using the same water tank as James Cameron’s The Abyss, which had filmed there around five years ago,
“We had even entertained the notion of shooting at that big nuclear reactor facility where they had shot The Abyss, to use it for our underwater tank. But we found it in such a state of disrepair that economically it just wasn’t feasible. We didn’t have as much underwater work as they did. Most of The Abyss is interiors and underwater and model work, ours is mostly surface exterior.”
The production company had originally envisioned building the atoll by linking approximately one hundred boats together and building upon this foundation, just like the characters in the film. The production crew set out to search Hawaii and get hold of as many boats as possible.
During this search, a unique boat in Honolulu caught their attention. Upon further investigation, they discovered it was built by Navitech, a subsidiary of the famous aircraft production company, Lockheed.
They approached Lockheed with the strange request of figuring out how they could build the foundations of the atoll. Lockheed found the request unusual but didn’t shy away from the challenging. They agreed to design the atoll foundation and Navitech would construct it.
Meanwhile, an 11ft miniature model of the atoll was sent out to a model ship testing facility in San Diego. Scaled wave tanks are used to determine the effects of the open sea on large scale miniature models of new untested ship designs. This would help determine what would happen with the unusual design of the atoll when it was out of the harbour.
The atoll, when finished, was approximately ¼ mile in circumference. It took three months to construct and is rumoured to cost around $22 million. As the atoll would be used out on the open sea, it required a seafaring license. Nothing like this had been done before and after much deliberation, it was eventually classed as an unmanned vessel. This meant that all cast and crew would have to vacate the set whilst it was towed into position. By the end of production, the atoll was towed out to sea a total of five times.
Shooting out on the open sea presented a series of logistical problem as Reynolds describes,
“We had an entire navy, basically – I mean, this atoll was positioned about a mile off-shore in Hawaii, it was anchored to the bottom of the ocean so it could rotate. What you don’t think about are things like, you’re shooting on this atoll to maintain this notion that there’s no dry land, you always have to shoot out to sea. Away from the land. So we chose a location where we had about a 180 degree view of open water. Nevertheless, any time when you’re shooting, there could be a ship appear in the background, or something like that, and you had to make a choice. Do I hold up the shot, wait for the ship to move out, or do we shoot and say we’re going to incur this additional cost in post-production of trying to remove the ship from the background.
And at that time, CGI was not at the point it is now, it was a bigger deal. And so, even though if you’re shooting across the atoll and you’re shooting out onto open water, when you turn around and do the reverses, for the action, you had to rotate the entire atoll, so that you’re still shooting out to open water. Those are the kinds of things that people don’t realise.
Or something as simple as – if you’re shooting a scene between two boats, and you’re trying to shoot The Mariner on his craft, another boat or whatever, you’ve got a camera boat shooting his boat, and then the other boat in the background. Well, when you’re on open water things tend to drift apart. So you have to send lines down from each of those boats to the bottom, to anchor them so that they somewhat stay in frame. When you’ve got a simple shot on land, you set up the camera position, you put people in front of the camera and then you put background in there. But when you’re on water, everything’s constantly moving apart, drifting apart, so you have to try to hold things down somewhat.
And these are simple things that you don’t really realise when you’re looking at it on film. But logistically, it’s crazy. And each day you shoot on the atoll with all those extras, we had to transport those people from dry land out to the location and so you’re getting hundreds of people through wardrobe and everything, and you’re putting them on boats, transporting them out to the atoll, and trying to get everybody in position to do a shot. And then when you break for lunch, you have to put everybody on boats and take them back in to feed them.”
The final size of the atoll was determined by the size of the Mariners boat, the trimaran. The dimensions for the trimaran were finalised very early on in pre-production, allowing all other vehicles and sets to be sized accordingly.
Production required two trimarans boats which are so called because they have three hulls. The first was based on the standard trimaran blueprint and built for speed but also had to accommodate a secret crew below decks.
During wide and aerial shots it would have to look like Costner himself was piloting the boat. In reality, a trained crew could monitor and perform the real sailing of the boat utilising specially built controls and television monitors below deck.
The second trimaran was the trawler boat which could transform into the racer through the use of special practical effects rigs. Both of these boats were constructed in France by Jeanneau. Normally this type of vessel requires a year to construct but production needed two boats in five months!
Normally once the boat had been constructed, Jeammeau would deliver it on the deck of a freighter, requiring a delivery time of around a month. This delay was unacceptable and so the trimarans were dismantled into sections and taken by a 747 air freighter to the dock Hawaii. Upon arrival, a further month was required to reassemble the boat and get them prepared for filming.
sets recreating the inside of the tanker were built using forced perspective in a huge 1000ft long warehouse which had an adjoining 2000ft field. In this field, they built the set of the oil tankers deck, again constructed using forced perspective. Using the forced perspective trick, the 500ft long set could be constructed to give the impression that it was really twice as long.
There’s more to a film than just it’s sets and filming locations. Over two thousand costumes had to be created with many of the lead actors costumes being replicated many times over due to wear and tear.
This is not an uncommon practice for film production, but due to the unique look of the people and the world they inhabit, it did create some headaches. One costume was created with so many fish scales the wardrobe department had to search the entire island of Hawaii looking for anyone who could supply in the huge quantity required.
Makeup had to use waterproof cosmetics, especially on the stunt players. As everyone had a sun burnt look, a three-sided tanning booth was setup. The extras numbering in their hundreds, with ages ranging from six to sixty-five, passed through the booth like a production line to receive their spray tan. The extras then moved onto costume before finally having their hair fixed and becoming ready for the day.
In some scenes, extras were actually painted plywood cutouts to help enhance the number of extras on the set. This can easily be seen in one particular shot on board the Deez super tanker.
Filming on the water is not only a difficult and time-consuming process but also very dangerous. It’s been reported that Jeanne Tripplehorn and Tina Majorino nearly drowned on their first day of filming.
Waterworld’s star Kevin Costner reported having a near-death experience when filming a scene in which the mariner ties himself to his catamaran to survive a storm. The pounding water caused him to black out and nearly drown.
Unbeknownst to most of the crew, Kevin Costner’s stunt double was riding his jet ski across 40 miles of open ocean between his home on Maui and the film’s set on the Big Island. When he didn’t show up for work one day, the production team phoned his wife, who informed them he had already left for work. The stunt double’s jet ski had run out of gas halfway through his “commute” and a storm had swept him farther out to sea. It took a helicopter most of the day to find him. The stunt doubles name was Laird Hamilton.
As well as the logistical problems of creating a film of this scale and on water, they also had to deal with the press who seemed intent on wanting the film to fail. Director Kevin Reynolds discusses the situation,
“It was huge, we were constantly fighting – people wanted to have bad press. That was more exciting to them than the good news. I guess the most egregious example of that that I recall was that the publicist told me that one day…we’d been out the day before and we were doing a shot where we sent two cameras up on a mast of the trimaran and we wanted to do a shot where they tilled down from the horizon down to the deck below. We’re out there, we’re anchored, we’re setting the shot up and a swell comes in, and I look over and the mast is sort of bending.
And I turned to the boatmaster and I said, “Bruno, is this safe?”. And he looks up the mast and he goes, “No”. So I said, “Okay, well, we have to get out as I can’t have two guys fall off from 40 feet up”. So, we had to break out of the set-up, and go back in a shoot something else and we lost another half-day.
Anyway, the next day the publicist is sitting in his office and he gets this call from some journalist in the States and he goes, “Okay. Don’t lie to me – I’ve had this confirmed from two different people. I want the facts, and I want to hear about the accident yesterday, we had two cameramen fall off the mast and were killed”.
And, he goes, “What are you talking about?”. And he goes, “Don’t lie to me, don’t cover this up, we know this has happened”. It didn’t happen! People were so hungry for bad news because it was much more exciting than…they just said it, and you know, it hurt us.”
Upon release, the press seemed to be disappointed that the film wasn’t the massive failure they were hoping it to be. Universal Studios told Kevin Reynolds that one critic came out of an early screening in New York and in a disappointed tone said,
“Well, it didn’t suck.”
It is true that during principle photography the slave colony set sank and had to be retrieved. However due to bad press, the rumour became much bigger and to this day when you mention the sinking set, most people assume it was the huge atoll.
During production, press nicknamed the film “Kevin’s Gate” and “Fishtar”, referring to 1980’s box office failures Heaven’s Gate and Ishtar. Heaven’s Gate failed so badly it led to the sale of United Artists Studio and has become synonymous with failure in Hollywood.
As well as the exaggerated set problems and other various production rumours, there were also difficulties with the script. In a risky move, the film was green lit and moved into production without a finalised script.
The final total is a reportedly thirty-six rewrites. One of the writers involved was Joss Whedon. Joss had worked on many scripts before becoming a director having being at the helm of both The Avengers and the sequel Avengers: Age Of Ultron. He described his experience on Waterworld as,
“Seven weeks of hell”
Everything came to a head just three weeks before the end of principle photography. Kevin Reynolds who was an old friend of Kevin Costner allegedly walked off set or was fired. There was no official statement on what happened.
When Reynolds left the production this event caused many changes to be made. Composer Mark Isham had already composed approximately two-thirds of the film’s score by the time Reynolds left and that event ultimately caused him to leave production. As Mark describes in this interview excerpt,
“Kevin Reynolds quit the film, which left me working for Kevin Costner, who listened to what I had written and wanted a completely different point of view. He basically made a completely different film — he re-cut the entire film, and in his meeting with me he expressed that he wanted a completely different approach to the score. And I said, “oh let me demonstrate that I can give that to you”, so I presented him with a demo of my approach to his approach, and he rejected that and fired me. What I find a lot in these big films, because the production schedules are so insane, that the directors have very little time to actually concentrate on the music.”
Rumours report that Costner took control of production. He directed the last few weeks of principle photography and edited the final cut of the film that was released in cinemas.
Reynolds discusses his surprise at discovering that one of the most famous scenes from what is known as the extended version, was left on the cutting room floor,
“…it would have differed from what you saw on the screen to some extent, and one of the things I’ve always been perplexed by in the version that was released, theatrically, although subsequently the longer version included it, and the reason that I did the film, was that at the very end of the picture, at the very end of the script, there’s a scene when they finally reach dry land and The Mariner’s sailing off and he leaves the two women behind, and in the script they’re standing up on this high point and they’re watching him sail away, and the little girl stumbles on something.
And they look down and clear the grass away and that’s this plaque. And it says, “Here, near this spot, 1953, Tenzing Norgay and Edmund Hillary first set foot on the summit of Everest”. And that was in script and I was like, “Oh, of course! Wow, the highest point on the planet! That would have been dry land!”. And we got it! We shot that. And they left it out of the picture. And I’m like, “Whaaat?!”. It’s like the Statue of Liberty moment in Planet of the Apes. And I was like, “Why would you leave that out?”
Written by John Abbitt | Follow John on twitter @UKFilmNerd
If any the crew cares to share any of their experiences on it please comment.
Thanks for reading
If you want more deep dives visit
https://www.facebook.com/groups/crewstories/?ref=share
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想當leader,you must take the risk。
交大新任校長-張懋中院士 (交大電子所博士68級,師承陳茂傑教授.)
本土博士揚名國際的傳奇 UCLA 張懋中教授專訪
張懋中院士於交通大學電子研究所陳茂傑教授從事研究,1979年經交大及教育部口試合格獲頒國家工學博士。
張院士目前擔任美國洛杉磯加州大學(UCLA)電機工程系系主任暨講座教授,曾獲多項國際級獎項及榮譽。
1996年以“Ultra-High Speed HBT Integrated Circuit Development” 優異研發成果榮膺國際電機電子
工程學會(IEEE)會士(Fellow);2006年更榮獲IEEE David Sarnoff獎項,以表彰其研發砷化鎵(GaAs) HBT異質雙
極電晶體功率放大器,由理論製成實物,成為手機及無線上網裝置的關鍵性元件,引領無線通訊的發展。
由於其研究成果蜚聲國際,張院士於2008年獲頒美國國家工程學院(National Academy of Engineering)院士,
2012年時更獲得中央研究院院士。
交大友聲專訪 文‧彭琡靜
交大電子研究所,培育了兩位世界級的本土博士,這兩位都姓張,一是台灣半導體之父的前校長張俊彥教授,另一位是今天要介紹的主角─UCLA教授張懋中學長。台灣土博士跑到美國人的地盤搶飯碗聽起來已經是個天方夜譚,但張學長還能受邀當起名校UCLA的tenured full professor,聽到這樣的奇蹟般的經歷,不禁讓人對他在美國奮鬥史產生莫大的好奇。
六月廿四日,張學長回國接受電機學院所頒發的榮譽教授,隔日則到工研院接受2008年潘文淵研究傑出獎項。除了傑出的研究成果,張學長為人幽默風趣,廣結善緣,這次回國,行程滿滿,而我們就在這滿檔的行程中專訪到張學長。以下是張學長的精采分享。
五項大能力站上國際舞台:Value、Passion、 Selection、 Latitude、Depth
問:談談您童年,父母對您是什麼樣的教育方式?
張:讓孩子有機會express自己,從小就鼓勵他們多 present。我國小和初中經常參加演講比賽,雖然師長幫忙潤飾內容,聽起來會有點肉麻(笑),不過,這讓我有許多public speech經驗,對於日後的表達能力的助益很大。因為research需要下真功夫,但如何把結果用清楚簡單的文字語言呈現出來,同時讓人家認同跟你一起做研究會有開闊的前景,表達的能力與技巧在這個時候是最重要的。
問:您對學生的訓練也是如此嗎?
張:我平常在學校訓練學生也是非常注重presentation。我認為學生出去,就是代表學校的規格,要能講話不拖泥帶水,要能hit the point。很可惜我們台灣的孩子不被鼓勵這個能力,造成台灣學生的邏輯思考不是「交通」型,是「反交通」的,也就是說自己滿清楚了解的,但是怎麼讓別人欣賞與接受,我們的教育有很大的改進空間。
我一直強調value-centered or value-pursued,我這些年在美國,近距離觀察大師,發現他們都有正確的value。做任何事,第一件事一定要思考那個價值是高的,那個對社會的價值是大的。第二就是passion,你不喜歡那個東西,勉強做是做不來的。另外要be selective,在我的觀察裡,能成為大師者都很selective,他們花很多時間在思考right things to do。再來是latitude,要具備橫向的反應,舉一隅要以三隅反。最後才是depth,就是學問的深度。
跟美國孩子比起來,台灣孩子的長處很多,短處就是思想不structured。零碎的、片面的反應很好,整體的反應不一定最好,自己思想沒有組織,沒有辦法build a structured system。但是,你在一個area要成為真正的大師,你必須要能organize,自己digest之後,重新能把框框搭起來。你有一 structured個體,站的空間就大,零碎的話,就看不見你。所以我們的問題就是,資源雖多,但每樣東西都做一點,沒有辦法一拉就全起來,所以在國際社會不容易得到認同。
問:您剛剛講不organize,會不會是美國的教育比較 creative?
張:美式教育很注重creative writing,每個禮拜都要寫,還要能present,老師也花很多時間在上面。我們這邊比較制式化,好像哪個逗點沒逗好,句點沒句好,就是太注重枝節,最重要的是看這個小孩是不是把心裡的話,有組織有系統的present出來。
我常開玩笑,我們應該回到古代去寫八股文,因為八股文本身有個structure,但是我們現代人缺乏structure,整個thinking沒有 structure。我們寫論文也是八股文,內容可以creative,但是structure是八股。因此,在生活的愈早期訓練,對孩子愈有利。
問:您的英語講得很好,是如何訓練的?
張:我是南投竹山人,我的父母是外省籍,但我是講台語長大的,一直講到高中,政府規定講台語會被罰錢,在我們那兒是不work的。我們鄉下有很多日本移民,很多日本籍的太太,講得一口非常優雅的日語,我很後悔當時沒有學日語。我覺得多學一個語言就多一個mind,因為想法就會不一樣;語言雖說是後天灌進去的,但是上帝create語言是很奇妙的。
語言的東西愈早學愈好,耳朵聽力比較好。一個人沒辦法有正確的音準,就是聽到的東西不是非常的精確。很多同仁問我什麼時候來美國的,我跟他說大概是29歲來美國,他們就很驚訝,說我雖然這個年紀才來美國,但聽不出有台灣的口音。
「台清交」養成「廣度兼具深度」的本土博士
問:您從小就對科學產生興趣嗎?
張:我很喜歡物理,所以第一志願就填台大物理系。那個年代有個好處,開課開得不多,也許是教授沒那麼多,學得比較深入。我總覺得現在的學生唸的科目太多了,課一多,平均每個科目花的時間相對減少。
我在台大物理系時,學校課開得不多,但是課都很難。我記得有一年上古典動力學,一個學期只教了四個章節,教科書叫《Classical Mechanics by Goldstein》,我們的順口溜就叫他狗屎蛋(笑)。讀也讀不懂,但一遍一遍的讀,最終也讀通了,這是值得的,因為以後也沒時間K這樣一本天書。
後來我到清華唸材料,又到交大來唸電子,這給了我一個好處,就是階段性讀的深刻,走過這十年間,無形又把廣度built起來。唸電子的人,尤其像我這樣做電路系統的人,通常缺乏對材料的了解,更缺乏對基本物理的了解,但對我而言,好像就很自由的把很多東西放在一起,變成一個新的東西,這就是 latitude。譬如說我做電路設計時,就常常拿物理觀念來做。一般人不會如此,他們是從傳統電路設計的角度過來,不會像我這樣繞道,所以都很驚訝,不知道原來可以這樣做。
問:您當年台大物理系畢業之後,沒有選擇出國唸書?
張:這中間有個小插曲,就是當年物理領域開始走下坡,尤其是 1968、69年有很大的crash。有人先出國鍍金,回來說物理已經完了,還說材料科學當道,為此,我還找了盧超群,我大四時當過他的助教,他哥哥盧志遠是我同班同學,陪我半夜跑去請教施敏教授。後來我沒出國,選擇到清華唸材料,學到不少東西,尤其是唸到thermodynamics in solid,發現它最精采的部份就是在material science。
畢業之後也很巧,有天我就在清大材料系晃著晃著遇到陳茂傑老師,陳老師跟我說要換學校,要到交大去,記得他還問我說:「你怎麼樣?」我當時就想:「陳老師怎麼問我怎麼樣,不就是到交大去教書嗎?交大不就是隔壁那個小學校嗎!」後來我發現我是學校愈唸愈小。(笑)
受到陳老師的鼓勵,我就來交大參加入學考試。交大考試非常別出心裁,特別是oral exam,我一走進考場,裡面坐著廿幾位老師,正中央聲音最大的是祁甡教授,三堂會審。後來放榜,我發現交大跟清華真的沒有情結,我竟然考上榜首,第二名就是溫清章,不過他比較沒耐心,虛晃一下就到U. Penn.(賓州大學)拿Ph.D.。
問:您在碩士畢業之後開過公司,可以談一談嗎?
張:對對!我跟許根玉老師搞過一個公司,在新竹市南大路,叫新域電子。在1975年,我的博士班剛開始,碰到許根玉、王遵義兩位學弟。我們是做掌上型遊戲機,是全世界第一個做hand held game的公司。
這就是交大的強項,橫向非常強。我們當時需要一個加減乘除的four functions calculator chip,當時李進洋學長在GI(General Instruments)的高雄廠(GIMT)當業務。GIMT位於高雄進出口加工區,貨艙裡剛好一些過時沒有人要的全功能計算機的chip。我們就跑去請李學長把這些chip當破銅爛鐵秤斤賣給我們。李學長很樂意幫忙,不過事情沒有想像中簡單,這些在加工出口區的chip,必須先出口再進口才可使用。後來李學長只要我們支付shipping的費用,先把chip出口到香港,拿到進關證明後再出關運回來,費了一番功夫。南港IC育成中心 勝華科技
我們拿到這個chip之後做成一個玩具叫「小教授」,它的功能是例如一加一等於二的題目,答對了綠色的LED就亮了,答錯的話,紅色的LED就亮,而且還會叭叭地響,我們那個紅色和綠色LED就是請光寶幫我們做,就是宋恭源董事長。
至於那個小教授本身的機殼得要做模子,我們也沒錢,就去宏碁找黃少華學長,到他們南京東路,那時候宏碁買了公寓,有兩個門面,一間還算是office,另外一間是庫房,堆了一堆東西。宏碁當時是賣calculator,我們就選了一個他們不用的calculator模子,想要跟他們買,結果黃學長說不用付錢,要我們有需要就趕快拿去用!所以說在創業時期,受到交大學長們很多的幫忙。
幾年後我到美國做Post-Dr,看到美國的商店 Toy-are-Us還在賣小教授(笑)。說起這個小教授,五塊錢一個,成本大概是一塊半。生產線一條變兩條,兩條變三條,當時我們滿有名的,新竹的銀行搶著要借錢給我們哩。
問:做得不錯怎麼會想要離開?
張:這事情講起來很有意思。大家都知道,郭南宏校長的性格很兢兢業業,有人告訴他說,不得了了,我們交大的研究生都在外面做生意。後來一查發現是我們(笑),郭校長就把我們叫去勸告一番之後,給我兩個choices,一是好好唸書,一是結束博士班的課業,好好去做生意。我想這也很fair,於是就答應郭校長,不做生意了,好好回來唸書。
問:會不會後悔?
張:也無從後悔起。而且主要還是帳務的問題把我們搞得暈頭轉向,我們會計還嚇我,說我還是比較適合回交大唸書,所以郭校長一提,我就乖乖回來了。
問:您提到受陳茂傑老師很大的影響,可否請問您是哪方面的影響?
張:陳老師做人做事做學問都很實在,他很重視價值觀,從來不變,他很清楚他要做什麼。他認為很多東西可以改變,但價值不能改變。他在學校從來是對事,不會對人,我所認識的人裡面,他是最一致的,所謂吾道一以貫之,陳老師就是最佳典範。
我覺得這很重要,一個人不能因為外在環境改變自己的方向,所以我一直強調value-centered,價值一定要擺在最前面,否則可能就做白工,甚至會有不良影響。我深受陳老師的影響,所以後來去美國,也能夠說服美國人,我想就是緊抱正確的價值觀。人種雖不一樣,但普世的價值觀是一樣的。
問:那陳老師怎麼會允許你同時去創業?
張:這個純粹是我們時間充分靈活運用的關係。學校的功課照做,研究 paper照寫啊!(笑)
問:那交大對您是否有影響?
張:當然影響非常大。交大做事情就是腳踏實地,交大人當官可能不是很好,不過實實在在做事情的能力是一流的。你看張俊彥校長他當年做實驗,爐子都是他自己圈起來的。我覺得要講本土,這才是本土精神。
什麼叫做本土化?我認為本土化是在你侷限的環境底下,創造出普世的價值,那才是真正的本土化。本土化如果只能創造本土價值,就沒有價值。
你可以很本土,但是創造出來的value是普世的。像托爾斯泰,他寫的是俄國小說,是他們俄國人的故事,但是他touch到的common value,是你和我同樣都appreciate,所以他才會成為大作家。
本土博士在美三十年:從砷化鎵專家到UCLA教授
※在UCLA櫃檯遇見到M/A-Com的貴人
問:很令人好奇,您在美國三十年的傳奇經歷?可以請您談一談嗎?
張:我在1978年離開交大去當兵,之前也在交大當講師,因此服完兵役想回來當老師。結果,我跟陳茂傑老師商量之後,陳老師對我說:「我看你最好還是出去走走吧!」我問老師去哪裡走走,老師說:「去美國做Post- Dr,去外面開拓眼界也不錯。」
後來我申請到UCLA,做太陽能電池photovoltaic solar cell。本來計畫稍微遊學一下,我1979年去,但到1980年就有很大的改變,當年卡特總統輸給雷根,共和黨並不支持solar cell的研究,我的計畫被迫停止。由此可見美國的科技發展跟兩黨政治息息相關,這也很有趣。我遠渡重洋要鍍金,結果只鍍了一半金,出門又向各位師長道別,又只混了一年也沒混到什麼,不好意思就這樣回台灣。於是我開始動動腦筋,想到美國的industry走走,也許有人要我。
我先跑到UCLA的Placement Center告訴櫃檯小姐說我想要被應徵,對方就問我綠卡的ID number,我愣了一下,心想糟糕我沒有綠卡。這時候,後面就有一個人搭腔說:「What旧 the number for? I would interview him.」我一看是一個大鬍子老外,笑瞇瞇的,我想我們素不相識,他怎麼會知道我想應徵什麼工作。他問我打哪兒來的,我說我是台灣來的,他說他太太是台灣來的;又問我,你哪裡畢業的,我說我國立交通大學畢業的,他說他太太是清華大學畢業的;他又問我,認不認識他太太,我心想,我怎麼會認識你太太,結果,一聊起來,我還真認識他太太。(笑)就這麼巧,人生地不熟的地方遇到這麼個貴人。
所以interview通過以後,我就在M/A-Com (Microwave Associat)做microwave power transistors,當時還在冷戰時期,我做這個東西是大power的transistor。接下來的兩年,M/A-Com也給我相當多的空間發揮,整個實驗室我愛做什麼就做什麼,但是,我不想待在這麼matured環境中,我想做一點新的東西,value比較大,影響比較大。加上我當時被 Gallium Arsenide III-V compound Transistor(砷化鎵三五電晶體)所吸引,心裡頭萌生去意。
※一通電話又碰上在Rockwell的台大學長貴人--李建平教授
M/A-Com想留我,本來想派我到東岸一個新的 Gallium Arsenide實驗室當經理,但我對研究工作比較有興趣,於是我太太建議我打個電話給台大物理系的學長李建平教授,李教授當時在Rockwell科學中心擔任研究員,我問他的意見,結果他回答說:「你還是踏實一點做研究吧,Manager是人幹的事嗎?」還說:「沈義德剛好quit,你趕快來 interview吧!」就這樣,我又遇到貴人,這次是我台大的學長。
我在Rockwell科學中心一待就是十五年,主要是做砷化鎵的研究。Rockwell是一家航太公司,也一直想要build up像Bell Lab那樣很具影響力的實驗室。所以我在那個實驗室,我就白天做Rockwell需要我做的東西,晚上和CP(李建平)一起做自己的實驗。
印象很深刻是有次CP發現一個現象,還用圖示給我看,如果plot整個 threshold voltages of GaAs MESFET在wafer上,明顯看到,水平跟垂直方向,完全不一樣。這時候,另外一個同事Peter Asbeck(現為UC San Diego教授)走過來,我們三個人就一起討論。
Peter Asbeck是學Laser的,他把Laser的理論用在這裡,看法不盡相同。於是三人各持理論,我看爭辯下去也無益,提議他們等我一下,我就捲起袖子進去實驗室,馬上可以得答案。當時已經晚上七點鐘,還沒吃晚餐,我們一面做一面討論,做到半夜,後來三人一致同意,找到新的東西,就是「Stress Induced Piezoelectric Effect on GaAs MESFET」。這是第一次知道Local Stress對Field Effect Transistor有很大的影響。晚上做完,第二天就寫論文,花不到一天的時間。
這給我很大的信心,但也曾有過另外一次實驗,因為信心不夠,認為自己焊接有問題,而白白讓一個新發現從手邊溜走。所以,我在這邊要強調,信心要足夠,要 be alert,要保持敏銳的觀察力,這對事業的幫助很大。
※受UCLA邀請時,葉文恭教授相挺協助將研究成果寫成一本書
問:怎麼會到UCLA教書?
張:早期華人當教授比例低,我1980年Post-Dr計畫停止第一次要離開UCLA時,我的導師說我很可惜,沒有US Ph.D. degree,要我好好珍重,意思是這輩子大概回不了UCLA了。
我自己也知道滿難的,因為到了一九八幾年,我做出一點小成績,東岸的一家長春藤名校想邀請我去教書,最後要詢問我的背景時,問我是不是從MIT畢業,我直接跟他說,「No, but I am Made-In-Taiwan.」我是從台灣國立交通大學來的。結果他們要我先拿另一家學校的offer,再聘用我。我心想真是太瞧不起我中華民國的學歷了,就沒有再談(笑)。今天提到交通大學,大家會肅然起敬,不過當年還是不太有名氣。
直到1996年,有一天,UCLA打電話來,問我想不想到他們學校教書,我還以為他們有什麼附帶條件,自己馬上招供說,我是國立交通大學畢業的!結果這回他們說:「交通大學很好,是個好學校!」(笑)
後來他們依照我的經歷直接要升我為第六級的full professor(按:UCLA的教授分級為:助理教授四級,副教授兩級,教授則分為九級;要升到第六級的教授必須由來自世界各地的教授評審。)但是需要國際審查,結果他們去準備和通過審查,又是九個月後的事。在這之間,我又遇到另外一個貴人葉文恭教授。在UCLA final 審查時,有位莎士比亞文學教授,認為我的資料只有12頁不夠厚,於是葉教授自告奮勇將這12頁資料拿回去重整成一本厚厚的磚塊書。後來就在UCLA待到現在,一直在做integrated circuit and system的研究。
「要想當leader,you must take the risk!」
問:您在UCLA時,如何排解挫折感?
張:做任何事都會有frustration,是要看你怎麼看事情。分享一個經驗,我有一個teaching assistant,我對他的performance很不滿意,有天他進辦公室,想找我抗辯。事前我就思索如果繼續把他罵一頓就會有效果嗎?好像不然,於是我就換個方法,他一進來,我請他坐下說想跟他談一件事,第一句話我就說:「我很擔心你的學習和前途。」還告訴他為什麼這樣做是一個bad damage。我發現這樣下來效果很大,他本來找了很多理由要抗辯,結果聽完我的話,馬上跟我道歉:「教授,我錯了,你是對的。我很感激你這樣子關心我。」
所以,身為一個Educator,我們站在一個很好的位置,是可以對學生產生很大的影響力,是滿unique的。
問:如何平衡您的時間跟壓力?
張:我想是passion吧!保養年輕的秘訣就是be passionate,做了以後滿足你的curiosity。
問:如何找到passion?
張:給孩子多一點空間胡思亂想吧!我認為以前的學校自由度比較大,所以好像培養出來的孩子做的事情大些吧。我以前念台中一中,哇,那真是個好學校。我們那時候的黃金鰲校長是北師大的訓導長,他真把我們當北師大的學生在教。我們上課下課沒人管,學校像市場一樣,每一節上課下課,有人走進校門,有人走出校門,上課上兩節不高興,就回家了。我的同學趙少康還幫他取個綽號叫「金龜」(台語發音)。
那時候真是台灣教育的黃金時代,我發現教育好像愈改愈不怎麼樣。拿我們竹山來說吧,當年真是地靈人傑。張俊彥校長的父親就是竹山人,GARMIN(全球最大衛星定位系統)的創辦人之一--高民環,全世界三百大富豪,也是竹山人,劉增豐院長也是竹山人,他哥哥就是我同學。這麼偏遠的鄉下,出這麼多人才,但是,現在竹山好落寞,所以我說這個台灣不知道出了什麼事情。
問:科學家說做學問很孤寂,您同意嗎?如果是,您如何面對?
張:可能可以從兩方面來講。第一,你不能跟著人家走,每一個人都在做的題材,你可能要想想如何跟別人不同。億萬富豪洛克斐勒有一天在紐約街上給鞋童擦皮鞋,這位鞋童對他說:「洛克斐勒先生,我也買了你的股票也!」本來是一句好話,但是他想到的是,不行,這股票過熱了,連一個辛苦擦鞋的鞋童都要來買你的股票,表示你的股票過頭了。所以回家之後,他馬上把所有的股票都清掉,結果他就survive了。同樣的道理,如果全世界都在做同樣的東西,就表示這研究沒什麼好做的。
我個人也是如此,我不喜歡走人家走過的路,所以我常跟我的學生講,你以為你到我這裡來是在做晶片設計嗎?No,如果你這樣想,那你最好離開這裡。我們做 engineer沒有說來學一個技術的,我們是problem solver,是訓練你如何思考,去抓住那個價值。什麼東西有價值,什麼東西沒價值,如何去選擇有價值的東西,這是一個哲學的訓練,不是一個技術的訓練。
問:您看現在的學生與過去的學生?
張:大的環境變了,電腦使用太普遍,學生變得interactive。也就是說,電腦出現什麼樣的需要,學生就response to電腦的需要,沒有像早一輩的學生,是直接跟自然的接觸。所以,現在的孩子,may be garbage-in and garbage-out這是比較可慮的。但反過來說,現在的孩子可以做到以前我們不能做到的程度,孩子如果latitude好的話,也可以解決很多事情,所以盡量要給孩子一些空間,他坐在那邊胡思亂想時,也不要說他是白吃飯。
問:您對台灣的科技研發有什麼建言?
張:台灣已經做得滿好的,台灣的程度應該是一流,但是限在執行面上,開創面則是不夠,真正要做到世界第一,憑良心講,做老大還不行,做老二、老三綽綽有餘。
其實,閉起門來算點數,說我們的paper數量超過Stanford,超過MIT,我覺得不如打開他們的網頁,看看教授們的博士學位是從哪得來的,這才是最直接的訊息。
現在的question是拿到五年五百億以後,能不能拿到世界第一名?做老大你得要猜前面什麼地方有寶藏。大家聽過「哥倫布和雞蛋」的故事嗎?哥倫布發現新大陸回西班牙,國王慶功宴上有人challenge他:你只要一直往那邊開不就到了嗎?這時候,哥倫布拿一個雞蛋,要求對方把它立起來,結果那個人表示沒辦法。這時只見哥倫布把蛋底打碎就站起來。道理是一樣的,知道這樣可以站起來,你為什麼不這樣做?所以要想當leader,you must take the risk。
註:感謝電機學院羅珮馨小姐,以及IC之音主持人謝美芳小姐參與並協助本次採訪。
san diego things to do 在 BeautywithFei Youtube 的最佳貼文
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記錄一下台灣的朋友莎莎來美國旅遊
帶她去了南加州諸多旅遊景點
✔️The Grove
✔️LACMA
✔️Redondo Beach
✔️Solvang Danish Villiage
✔️GoCar San Diego
✔️Ponyland Horse Riding
逢九生日當天雖然手機相機泡水
但整年下來
工作上軌道
美國親友、台灣朋友的陪伴和祝福
算是非常幸運的一年
紀錄生活的一切
很簡單、樸實、沒有什麼華麗的包裝
希望我的Vlog影片能陪伴你們的平凡日子
►Air Bnb Sonder | Shift Apartment | Distinctive 2 BR + Pool
喜歡我的影片記得幫我按個讚👍
別忘了訂閱我的頻道喔❤️
也可以去加入我的Facebook粉絲專頁
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