There's this fact that I love that I read somewhere once, that one of the things that's contributed to homo sapiens' success as a species is our lack of body hair -- that our hairlessness, our nakedness combined with our invention of clothing, gives us the ability to modulate our body temperature and thus be able to survive in any climate we choose. And now we've evolved to the point where we can't survive without clothing. And it's more than just utility, now it's a communication. Everything that we choose to put on is a narrative, a story about where we've been, what we're doing, who we want to be.
Postoji jedan podatak koji mi se dopada koji sam negde jednom pročitao, da je jedna od stvari koja je doprinela uspehu homo sapiensa kao vrste naš nedostatak dlaka na telu - da nam naš nedostatak dlaka, naša nagost, zajedno sa našim otkrićem odevanja, daje sposobnost da podešavamo našu telesnu temperaturu i samim tim omogućava da preživimo u bilo kojoj klimi da odaberemo. Sada smo se razvili do te tačke da ne možemo preživeti bez odeće. Ona je više od korisnog predmeta; danas predstavlja komunikaciju. Sve što odaberemo da obučemo je narativ, priča o tome gde smo bili, šta radimo, ko želimo da budemo.
I was a lonely kid. I didn't have an easy time finding friends to play with, and I ended up making a lot of my own play. I made a lot of my own toys. It began with ice cream. There was a Baskin-Robbins in my hometown, and they served ice cream from behind the counter in these giant, five-gallon, cardboard tubs. And someone told me -- I was eight years old -- someone told me that when they were done with those tubs, they washed them out and kept them in the back, and if you asked they would give you one. It took me a couple of weeks to work up the courage, but I did, and they did. They gave me one -- I went home with this beautiful cardboard tub. I was trying to figure out what I could do with this exotic material -- metal ring, top and bottom. I started turning it over in my head, and I realized, "Wait a minute -- my head actually fits inside this thing."
Ja sam bio usamljeno dete. Nisam tako lako nalazio prijatelje sa kojima bih se igrao, pa sam na kraju sam smišljao svoje igre. Napravio sam mnogo svojih igračaka. Otpočelo je sladoledom. U mom gradu je postojala prodavnica Baskin-Robins i služili su sladoled iza pulta iz ogromnih kartonskih kaca od oko 20 litara. Neko mi je rekao, a imao sam osam godina, da kada završe sa tim kacama, operu ih i drže ih pozadi, a ako zatražiš, daju ti jednu. Trebalo mi je par nedelja da skupim hrabrost, ali pitao sam i dali su mi. Dali su mi jednu - otišao sam kući sa tom prelepom kartonskom kacom. Pokušavao sam da smislim šta mogu da radim sa tim egzotičnim materijalom - metalni prsten na vrhu i dnu. Počeo sam da je okrećem u glavi i shvatio sam: „Čekaj malo - moja glava zapravo staje unutra.“
(Laughter)
(Smeh)
Yeah, I cut a hole out, I put some acetate in there and I made myself a space helmet.
Da, isekao sam rupu, stavio sam malo acetata i napravio svemirsku kacigu.
(Laughter)
(Smeh)
I needed a place to wear the space helmet, so I found a refrigerator box a couple blocks from home. I pushed it home, and in my parents' guest room closet, I turned it into a spaceship. I started with a control panel out of cardboard. I cut a hole for a radar screen and put a flashlight underneath it to light it. I put a view screen up, which I offset off the back wall -- and this is where I thought I was being really clever -- without permission, I painted the back wall of the closet black and put a star field, which I lit up with some Christmas lights I found in the attic, and I went on some space missions.
Trebalo mi je mesto na kome bih nosio svemirsku kacigu, pa sam tako pronašao kutiju od frižidera par ulica od kuće. Odgurao sam je kući i u ormaru gostinske sobe mojih roditelja sam je pretvorio u svemirski brod. Počeo sam kontrolnom tablom od kartona. Isekao sam rupu za ekran radara i ispod stavio baterijsku lampu da ga osvetli. Postavio sam glavni ekran uspravno, koji sam stavio naspram zadnjeg zida - tu sam mislio da sam baš pametan - bez dozvole sam ofarbao pozadinu ormana u crno i stavio zvezdano polje, koje sam uključio pomoću božićnih svetala koje sam pronašao na tavanu i krenuo sam na svemirske misije.
A couple years later, the movie "Jaws" came out. I was way too young to see it, but I was caught up in "Jaws" fever, like everyone else in America at the time. There was a store in my town that had a "Jaws" costume in their window, and my mom must have overheard me talking to someone about how awesome I thought this costume was, because a couple days before Halloween, she blew my freaking mind by giving me this "Jaws" costume.
Par godina kasnije, izašao je film „Ajkula“. Bio sam isuviše mlad da bih ga gledao, ali me je uhvatila groznica „Ajkule“, kao i svakog drugog u to vreme u Americi. Postojala je radnja u mom gradu koja je u izlogu imala kostime iz „Ajkule“ i moja mama mora da je načula kako pričam nekome kako mislim da su ti kostimi sjajni, jer me je par dana pre Noći veštica oduševila poklonivši mi kostim iz „Ajkule“.
Now, I recognize it's a bit of a trope for people of a certain age to complain that kids these days have no idea how good they have it, but let me just show you a random sampling of entry-level kids' costumes you can buy online right now ... ... and this is the "Jaws" costume my mom bought for me.
Priznajem da je pomalo trop da se ljudi određenih godina žale kako deca ovih dana nemaju pojma koliko im je dobro, ali dozvolite da vam pokažem nasumične uzorke običnih dečjih kostima koje danas možete kupiti preko interneta... a ovo je kostim iz „Ajkule“ koji mi je mama kupila.
(Laughter)
(Smeh)
This is a paper-thin shark face and a vinyl bib with the poster of "Jaws" on it.
To je lice ajkule tanko kao papir i vinilska portikla sa posterom „Ajkule“.
(Laughter)
(Smeh)
And I loved it.
Obožavao sam je.
A couple years later, my dad took me to a film called "Excalibur." I actually got him to take me to it twice, which is no small thing, because it is a hard, R-rated film. But it wasn't the blood and guts or the boobs that made me want to go see it again. They helped --
Par godina kasnije, tata me je odveo na film zvani „Ekskalibur“. Zapravo sam ga ubedio da me vodi dva puta, što nije mala stvar, jer je to težak film, zabranjen deci ispod 17 godina bez pratnje roditelja. Međutim, krv, utrobe i grudi nisu ono što me je nateralo da ga opet vidim. To jeste pomoglo -
(Laughter)
(Smeh)
It was the armor. The armor in "Excalibur" was intoxicatingly beautiful to me. These were literally knights in shining, mirror-polished armor. And moreover, the knights in "Excalibur" wear their armor everywhere. All the time -- they wear it at dinner, they wear it to bed.
U pitanju je bio oklop. Oklop u „Ekskaliburu“ je za mene bio opojno lep. Tu su bukvalno bili vitezovi u sjajnim oklopima, uglačanim kao ogledala. Štaviše, vitezovi u „Ekskaliburu“ nose svoj oklop svuda. Sve vreme - nose ga na večeri, nose ga u krevetu.
(Laughter)
(Smeh)
I was like, "Are they reading my mind? I want to wear armor all the time!"
Bio sam u fazonu: „Zar mi čitaju misli? Ja hoću stalno da nosim oklop!“
(Laughter)
(Smeh)
So I went back to my favorite material, the gateway drug for making, corrugated cardboard, and I made myself a suit of armor, replete with the neck shields and a white horse. Now that I've oversold it, here's a picture of the armor that I made.
Tako sam se vratio svom omiljenom materijalu, prelaznoj drogi za izradu, rebrastom kartonu, i napravio sam oklop za sebe, pun štitnika za vrat, i belog konja. Sad kad sam ga precenio, evo slike oklopa koji sam napravio.
(Laughter)
(Smeh)
(Applause)
(Aplauz)
Now, this is only the first suit of armor I made inspired by "Excalibur." A couple of years later, I convinced my dad to embark on making me a proper suit of armor. Over about a month, he graduated me from cardboard to roofing aluminum called flashing and still, one of my all-time favorite attachment materials, POP rivets. We carefully, over that month, constructed an articulated suit of aluminum armor with compound curves. We drilled holes in the helmet so that I could breathe, and I finished just in time for Halloween and wore it to school. Now, this is the one thing in this talk that I don't have a slide to show you, because no photo exists of this armor. I did wear it to school, there was a yearbook photographer patrolling the halls, but he never found me, for reasons that are about to become clear.
Ovo je samo prvi oklop koji sam napravio inspirisan „Ekskaliburom“. Par godina kasnije, ubedio sam tatu da se upusti u pravljenje odgovarajućeg oklopa za mene. Tokom otprilike mesec dana, unapredio me je od kartona do krovnog aluminijuma zvanog opšivka i do još uvek meni omiljenog materijala svih vremena za pripajanje, pop nitni. Pažljivo smo tokom tog meseca konstruisali zglavkasti aluminijumski oklop sa složenim krivinama. Izbušili smo rupe u šlemu tako da mogu da dišem i završili smo taman na vreme za Noć veštica i da ga nosim u školu. Ovo je jedino u ovom govoru za šta nemam slajd da vam pokažem, jer ne postoji nijedna slika tog oklopa. Jesam ga nosio u školi i fotograf za godišnji izveštaj je patrolirao hodnicima, ali me nikada nije pronašao, iz razloga koji će uskoro postati jasni.
There were things I didn't anticipate about wearing a complete suit of aluminum armor to school. In third period math, I was standing in the back of class, and I'm standing in the back of class because the armor did not allow me to sit down.
Neke stvari nisam očekivao u vezi sa nošenjem aluminijumskog oklopa u školi. Na trećem času matematike, stajao sam u pozadini razreda, a stajao sam pozadi jer mi oklop nije dozvoljavao da sednem.
(Laughter)
(Smeh)
This is the first thing I didn't anticipate. And then my teacher looks at me sort of concerned about halfway through the class and says, "Are you feeling OK?" I'm thinking, "Are you kidding? Am I feeling OK? I'm wearing a suit of armor! I am having the time of my --" And I'm just about to tell her how great I feel, when the classroom starts to list to the left and disappear down this long tunnel, and then I woke up in the nurse's office. I had passed out from heat exhaustion, wearing the armor. And when I woke up, I wasn't embarrassed about having passed out in front of my class, I was wondering, "Who took my armor? Where's my armor?"
To je prva stvar koju nisam očekivao. Zatim me nastavnica pogleda nekako zabrinuto negde na polovini časa i kaže: „Da li ti je dobro?“ A ja mislim: „Šališ se? Da li mi je dobro? Nosim oklop! Provodim se kao ni-“ Upravo hoću da joj kažem koliko se sjajno osećam, kada učionica kreće da naginje na levo i nestaje niz dugačak tunel, a zatim se budim u ordinaciji kod medicinske sestre. Onesvestio sam se od toplotnog udara noseći oklop. Kada sam se probudio, nije me bilo sramota što sam se onesvestio pred razredom, već sam se pitao: „Ko mi je uzeo oklop? Gde je moj oklop?“
OK, fast-forward a whole bunch of years, some colleagues and I get hired to make a show for Discovery Channel, called "MythBusters." And over 14 years, I learn on the job how to build experimental methodologies and how to tell stories about them for television. I also learn early on that costuming can play a key role in this storytelling.
U redu, premotajmo unapred gomilu godina, neke kolege i mene angažuju da napravimo emisiju za kanal Diskaveri pod imenom „Razbijači mitova“. Više od 14 godina učim na tom poslu kako da izgradim eksperimentalnu metodologiju i kako da ispričam priču o tome za televiziju. Takođe rano saznajem da kostimi mogu igrati ključnu ulogu u tom pripovedanju.
I use costumes to add humor, comedy, color and narrative clarity to the stories we're telling. And then we do an episode called "Dumpster Diving," and I learn a little bit more about the deeper implications of what costuming means to me. In the episode "Dumpster Diving," the question we were trying to answer is: Is jumping into a dumpster as safe as the movies would lead you to believe?
Koristim kostime da dodam humor, komediju, boju i jasnoću naracije pričama koje pričamo. Zatim napravimo epizodu zvanu „Ronjenje u kontejneru“ i saznajem malo više o dubljim implikacijama toga šta za mene znače kostimi. U epizodi „Ronjenje u kontejneru“ pokušavamo da odgovorimo na pitanje da li je uskakanje u kontejner tako bezbedno kako vas filmovi navode da poverujete?
(Laughter)
(Smeh)
The episode was going to have two distinct parts to it. One was where we get trained to jump off buildings by a stuntman into an air bag. And the second was the graduation to the experiment: we'd fill a dumpster full of material and we'd jump into it. I wanted to visually separate these two elements, and I thought, "Well, for the first part we're training, so we should wear sweatsuits -- Oh! Let's put 'Stunt Trainee' on the back of the sweatsuits. That's for the training." But for the second part, I wanted something really visually striking -- "I know! I'll dress as Neo from 'The Matrix.'"
Epizoda je trebalo da ima dva različita dela. U jednom delu nas kaskader obučava da skačemo sa zgrada na vazdušni jastuk. Drugi deo je nadograđivanje eksperimenta - ispunili bismo kontejner materijalom i uskočili u njega. Hteo sam da vizuelno razdvojim ta dva elementa i pomislio sam: „Pa, u prvom delu smo na obuci, pa bi trebalo da nosimo trenerke - Da! Hajde da stavimo 'kaskader pripravnik' na poleđinu trenerki. To je za obuku.“ Međutim, za drugi deo, hteo sam nešto zaista vizuelno upečatljivo - „Znam! Obući ću se kao Neo iz 'Matriksa'.“
(Laughter)
(Smeh)
So I went to Haight Street. I bought some beautiful knee-high, buckle boots. I found a long, flowing coat on eBay. I got sunglasses, which I had to wear contact lenses in order to wear. The day of the experiment shoot comes up, and I step out of my car in this costume, and my crew takes a look at me ... and start suppressing their church giggles. They're like, "(Laugh sound)." And I feel two distinct things at this moment. I feel total embarrassment over the fact that it's so nakedly clear to my crew that I'm completely into wearing this costume.
Tako sam otišao u ulicu Hajt i kupio sam prelepe čizme sa kopčom dužine do kolena. Pronašao sam dugačak, graciozan kaput na Ibeju. Uzeo sam naočare za sunce, zbog koji sam morao da nosim sočiva. Stigao je dan eksperimenta i ja izlazim iz automobila u tom kostimu, a moja ekipa me pogleda i počne da prigušuje kikotanje. Bili su ovakvi: „(Zvuk smejanja)“. Osetio sam dve zasebne stvari u ovom trenutku. Osetio sam potpunu posramljenost zbog činjenice da je mojoj ekipi tako otvoreno jasno da se skroz ložim na nošenje kostima.
(Laughter)
(Smeh)
But the producer in my mind reminds myself that in the high-speed shot in slow-mo, that flowing coat is going to look beautiful behind me.
Međutim, producent u mom umu me podseća da će na brzoj slici usporenog snimka taj graciozni kaput izgledati prelepo iza mene.
(Laughter)
(Smeh)
Five years into the "MythBusters" run, we got invited to appear at San Diego Comic-Con. I'd known about Comic-Con for years and never had time to go. This was the big leagues -- this was costuming mecca. People fly in from all over the world to show their amazing creations on the floor in San Diego. And I wanted to participate. I decided that I would put together an elaborate costume that covered me completely, and I would walk the floor of San Diego Comic-Con anonymously. The costume I chose? Hellboy. That's not my costume, that's actually Hellboy.
Pet godina od prikazivanja „Razbijača mitova“, pozvani smo da se pojavimo na Komik Konu u San Dijegu. Godinama sam znao za Komik Kon i nikad nisam imao vremena da odem. Ovo je bila velika liga - svetinja za kostime. Ljudi doleću iz svih krajeva sveta da bi pokazali svoje neverovatne kreacije u dvorani San Dijega. I ja sam hteo da učestvujem. Rešio sam da ću sastaviti složeni kostim koji me skroz pokriva i da ću anonimno hodati u dvorani Komik Kona u San Dijegu. Koji sam kostim odabrao? Helboj. To nije moj kostim, to je stvarno Helboj.
(Laughter)
(Smeh)
But I spent months assembling the most screen-accurate Hellboy costume I could, from the boots to the belt to the pants to the right hand of doom. I found a guy who made a prosthetic Hellboy head and chest and I put them on. I even had contact lenses made in my prescription. I wore it onto the floor at Comic-Con and I can't even tell you how balls hot it was in that costume.
Proveo sam mesece sklapajući što sam mogao sličniji kostim onom sa ekrana, od čizama, kaiša i pantalona do desne ruke usuda. Pronašao sam momka koji je napravio prostetičku glavu i grudi Helboja i stavio sam ih na sebe. Čak su mi napravili i sočiva po mojoj dioptriji. Nosio sam ga u dvorani Komik Kona i ne mogu da vam objasnim koliko je bilo pakleno u tom kostimu.
(Laughter)
(Smeh)
Sweating! I should've remembered this. I'm sweating buckets and the contact lenses hurt my eyes, and none of it matters because I'm totally in love.
Preznojavanje! Trebalo je da se setim toga. Prolivam kofe znoja i od sočiva me bole oči, ali ništa od toga nije bitno jer sam opijen ljubavlju.
(Laughter)
(Smeh)
Not just with the process of putting on this costume and walking the floor, but also with the community of other costumers. It's not called costuming at Cons, it's called "cosplay." Now ostensibly, cosplay means people who dress up as their favorite characters from film and television and especially anime, but it is so much more than that. These aren't just people who find a costume and put it on -- they mash them up. They bend them to their will. They change them to be the characters they want to be in those productions. They're super clever and genius. They let their freak flag fly and it's beautiful.
Ne samo prema procesu oblačenja kostima i hodanju u dvorani, već i prema zajednici drugih ljudi u kostimima. To se na Komik Konu ne zove kostimiranje, već „kosplej“. Naizgled, kosplej označava ljude koji se preoblače u svoje omiljene likove sa filma i televizije, a pogotovo anime likove, ali mnogo je više od toga. To nisu samo ljudi koji nađu kostim i obuku ga; oni ih kombinuju. Potčinjavaju ih svojoj volji. Menjaju ih tako da budu likovi kakvi oni žele da budu u toj produkciji. Izuzetno su pametni i genijalni. Puste da im se vijori zastava ludila i prelepo je.
(Laughter)
(Smeh)
But more than that, they rehearse their costumes. At Comic-Con or any other Con, you don't just take pictures of people walking around. You go up and say, "Hey, I like your costume, can I take your picture?" And then you give them time to get into their pose. They've worked hard on their pose to make their costume look great for your camera. And it's so beautiful to watch. And I take this to heart. At subsequent Cons, I learn Heath Ledger's shambling walk as the Joker from "The Dark Knight." I learn how to be a scary Ringwraith from "Lord of the Rings," and I actually frighten some children. I learned that "hrr hrr hrr" -- that head laugh that Chewbacca does.
I više od toga, oni isprobavaju svoje kostime. Na Komik Konu ili bilo kom drugom Konu, nećete samo slikati ljude kako šetaju unaokolo. Prići ćete i reći: „Hej, sviđa mi se tvoj kostim, mogu li da te slikam?“ Onda im date vremena da nameste svoju pozu. Dosta su radili na svojoj pozi tako da postignu da im kostim izgleda sjajno za vašu kameru. Tako je lepo to gledati. Uzimam ovo k srcu. Na kasnijim Konovima, naučio sam Hit Ledžerov klimatavi hod kao Džoker iz „Mračnog viteza“. Naučio sam da budem strašna Utvara prstena iz „Gospodara prstenova“ i zapravo sam prestravio neku decu. Naučio sam ono „hr hr hr“ - to smejanje celom glavom, što radi Čubaka.
And then I dressed up as No-Face from "Spirited Away." If you don't know about "Spirited Away" and its director, Hayao Miyazaki, first of all, you're welcome.
A onda sam se obukao kao Bez-lica iz „Začaranog grada“. Ako ne znate za „Začarani grad“ i njegovog reditelja Hajaoa Mijazakija, kao prvo, nema na čemu.
(Laughter)
(Smeh)
This is a masterpiece, and one of my all-time favorite films. It's about a young girl named Chihiro who gets lost in the spirit world in an abandoned Japanese theme park. And she finds her way back out again with the help of a couple of friends she makes -- a captured dragon named Haku and a lonely demon named No-Face. No-Face is lonely and he wants to make friends, and he thinks the way to do it is by luring them to him and producing gold in his hand. But this doesn't go very well, and so he ends up going on kind of a rampage until Chihiro saves him, rescues him.
To je remek-delo i jedan od mojih omiljenih filmova svih vremena. Radi se o devojci po imenu Čihiro koja se izgubi u svetu duhova u napuštenom japanskom tematskom parku. Ona nalazi put nazad pomoću par prijatelja koje stiče - uhvaćenog zmaja zvanog Haku i usamljenog demona zvanog Bez-lica. Bez-lica je usamljen i hoće da stekne prijatelje, a misli da je način da to uradi tako što će ih namamiti sebi i stvoriti zlato u svojoj ruci. Međutim, to ne prolazi baš dobro, pa tako on počne sa nekakvom razjarenošću dok ga Čihiro ne spasi, izbavi ga.
So I put together a No-Face costume, and I wore it on the floor at Comic-Con. And I very carefully practiced No-Face's gestures. I resolved I would not speak in this costume at all. When people asked to take my picture, I would nod and I would shyly stand next to them. They would take the picture and then I would secret out from behind my robe a chocolate gold coin. And at the end of the photo process, I'd make it appear for them. Ah, ah ah! -- like that.
Tako sam sklopio kostim Bez-lica i nosio ga u dvorani Komik Kona. Vrlo pažljivo sam vežbao pokrete Bez-lica. Rešio sam da u ovom kostimu uopšte neću govoriti. Kada bi ljudi zatražili da me slikaju, klimnuo bih glavom i stidljivo stao do njih. Napravili bi sliku, a zatim bih tajno izvukao pozadi iz ogrtača čokoladni zlatnik. Na kraju procesa fotografisanja, učinio bih da se pojavi za njih. A, a, a! - tako.
And people were freaking out. "Holy crap! Gold from No-Face! Oh my god, this is so cool!" And I'm feeling and I'm walking the floor and it's fantastic. And about 15 minutes in something happens. Somebody grabs my hand, and they put a coin back into it. And I think maybe they're giving me a coin as a return gift, but no, this is one of the coins that I'd given away. I don't know why. And I keep on going, I take some more pictures. And then it happens again. Understand, I can't see anything inside this costume. I can see through the mouth -- I can see people's shoes. I can hear what they're saying and I can see their feet. But the third time someone gives me back a coin, I want to know what's going on. So I sort of tilt my head back to get a better view, and what I see is someone walking away from me going like this. And then it hits me: it's bad luck to take gold from No-Face. In the film "Spirited Away," bad luck befalls those who take gold from No-Face.
Ljudi bi se izbezumili. „Čoveče! Zlato od Bez-lica! O bože, ovo je tako kul!“ A ja to osećam i hodam dvoranom i fantastično je. Nekih 15 minuta kasnije se nešto desi. Neko mi grabi ruku i vraća novčić u nju. Pomislih da mi možda daju novčić da bi uzvratili poklon, ali ne, to je jedan od novčića koje sam poklonio. Ne znam zašto. Nastavljam dalje, još se slikam. Zatim se to ponovi. Razumete, ne mogu ništa da vidim unutar ovog kostima. Mogu da vidim kroz usta - mogu da vidim obuću ljudi. Mogu da čujem šta govore i mogu da im vidim stopala. Treći put kada mi neko vraća novčić, hoću da znam šta se dešava. Zato nekako iskosim glavu unazad da imam bolji pogled, a ono što vidim je neko ko odlazi od mene ovako. Tada mi je sinulo. Baksuz je uzeti zlato od Bez-lica. U filmu „Začarani grad“, nesreća zadesi one koji uzmu zlato od Bez-lica.
This isn't a performer-audience relationship; this is cosplay. We are, all of us on that floor, injecting ourselves into a narrative that meant something to us. And we're making it our own. We're connecting with something important inside of us. And the costumes are how we reveal ourselves to each other.
Ovo nije odnos izvođača i publike; ovo je kosplej. Svi se mi u toj dvorani ubacujemo u priču koja nam nešto znači i pretvaramo je u svoju. Povezujemo se sa nečim važnim unutar nas. Kostimi su način na koji se razotkrivamo jedni pred drugima.
Thank you.
Hvala.
(Applause)
(Aplauz)