I had a fire nine days ago. My archive: 175 films, my 16-millimeter negative, all my books, my dad's books, my photographs. I'd collected -- I was a collector, major, big-time. It's gone. I just looked at it, and I didn't know what to do. I mean, this was -- was I my things? I always live in the present -- I love the present.
Me ra zjarri nente dite perpara. Arkiva ime ishte: 175 filma, 16 milimetrat e mi negativ, te gjithe librat e mi, librat e babait tim, fotografite e mia. Une kisha mbledhur -- Une isha nje koleksionist, madje i madh. Tani gjithcka eshte zhdukur. Thjesht po e shikja, dhe nuk dija se cfare te beja, Dua te them qe a isha une vetem gjerat e mia? Une gjithmone jetoj ne te tashmen -- une e dashuroj te tashmen.
I cherish the future. And I was taught some strange thing as a kid, like, you've got to make something good out of something bad. You've got to make something good out of something bad. This was bad! Man, I was -- I cough. I was sick. That's my camera lens. The first one -- the one I shot my Bob Dylan film with 35 years ago. That's my feature film. "King, Murray" won Cannes Film Festival 1970 -- the only print I had. That's my papers.
Une shpresoj per te ardhmen. Dhe kam mesuar ca gjera te cuditshme kur isha femije, si, duhet te besh dicka te mire nga dicka e keqe. Duhet te besh dicka te mire nga dicka e keqe. Kjo ishte e keqe! Mos, une isha -- me kolle. Une isha i semure. Kjo eshte kamera ime lente. E para -- qe fotografova filmin tim Bob Dylan 35 vite me pare. Ky eshte filmi im i te ardhmes. "Mbreti, Murray" qe fitoi Festivalin e Filmit Kanes ne 1970 -- nga i vetmi printer qe pata. Keto jane letrat e mia.
That was in minutes -- 20 minutes. Epiphany hit me. Something hit me. "You've got to make something good out of something bad," I started to say to my friends, neighbors, my sister. By the way, that's "Sputnik." I ran it last year. "Sputnik" was downtown, the negative. It wasn't touched. These are some pieces of things I used in my Sputnik feature film, which opens in New York in two weeks downtown. I called my sister. I called my neighbors. I said, "Come dig." That's me at my desk. That was a desk took 40-some years to build. You know -- all the stuff. That's my daughter, Jean. She came. She's a nurse in San Francisco.
Kjo ndodhi brenda pak minutave -- 20 minuta. Pagezimi me goditi mua. Dicka me goditi mua. "Duhet te besh dicka te mire nga dicka e keqe." Fillova ti them miqve, komshinjve dhe motres time. Meqe ra fjala, ky eshte "Satelit Artificial". E zhvillova vitin e kaluar. Negativi i"Satelitit artificial" ishte ne qender te qytetit. Nuk ishte i prekur. Jane disa pjese gjerash qe perdora ne filmin tim artistik, Sateliti Atificial qe hapet per dy jave ne New York ne qender te qytetit. Telefonova motren time. Telefonova komshinjte e mi. Ju thashe, "Hajdeni." Ketu jam une ne tavolinen time. Kjo ishte tavolina qe mu desh 40 vite per te ndertuar. Ju e dini -- gjithe keto gjera. Kjo eshte vajza ime, Jean. Ajo erdhi. Ajo eshte nje infermiere ne San Francisco.
"Dig it up," I said. "Pieces. I want pieces. Bits and pieces." I came up with this idea: a life of bits and pieces, which I'm just starting to work on -- my next project. That's my sister. She took care of pictures, because I was a big collector of snapshot photography that I believed said a lot. And those are some of the pictures that -- something was good about the burnt pictures. I didn't know. I looked at that -- I said, "Wow, is that better than the --" That's my proposal on Jimmy Doolittle. I made that movie for television. It's the only copy I had. Pieces of it. Idea about women.
"Germo," i thashe. "Pjese. Une dua pjese. Copeza dhe pjese." Mberrita ne kete ide: nje jete me copeza dhe pjese, ku jam duke filluar per te punuar -- projektin tim te rradhes. Kjo eshte motra ime. Ajo u kujdes per fotot, sepse une isha nje koleksionist i madh i pamjeve fotografike qe mendoj se tha goxha. Dhe keto jane disa prej fotove -- qe dicka prej ketyre fotove te djegura ishte e mire. Une nuk e dija. Une i po i rishihja -- dhe thashe, "Uau, eshte kjo me e mire se --" Ky ishte propozimi im per Jimmy Doolittle. Une e realizova ate film. Eshte e vetmja kopje qe kisha. Pjese te saj. Ide rreth femrave.
So I started to say, "Hey, man, you are too much! You could cry about this." I really didn't. I just instead said, "I'm going to make something out of it, and maybe next year ... " And I appreciate this moment to come up on this stage with so many people who've already given me so much solace, and just say to TEDsters: I'm proud of me. That I take something bad, I turn it, and I'm going to make something good out of this, all these pieces. That's Arthur Leipzig's original photograph I loved. I was a big record collector -- the records didn't make it. Boy, I tell you, film burns. Film burns. I mean, this was 16-millimeter safety film. The negatives are gone.
Keshtu qe une fillova duke thene, "Hej, zoteri, jeni si shume! Ti duhet te qash rreth gjithe kesaj." Une nuk isha duke e bere. Une vetem isha duke thene, "Une do te bej dicka rreth kesaj, dhe ndoshta vitin qe vjen .... " Dhe une e vleresoj kete moment qe jam ne kete skene me kaq shume njerez qe me kane dhene shume ngushellim, dhe dua ti them TED: Une jam krenar per veten. Qe mund te marr dicka te keqe, e ndryshoj, pasi une do te bej dicka te mire pertej gjithe kesaj, dhe pertej ketyre pjeseve. Kjo eshte fotografia origjinale e Arthur Leipzig qe une e adhuroj. Une ishe nje koleksionues i madh i regjistrimeve -- por regjistrimet nuk e bejne kete. Une po ja u them, filmat digjen. Filmat digjen. Dhe me kete dua te them, se ky ishte nje film i sigurt 16-milimetersh. Negativet nuk jane me.
That's my father's letter to me, telling me to marry the woman I first married when I was 20. That's my daughter and me. She's still there. She's there this morning, actually. That's my house. My family's living in the Hilton Hotel in Scotts Valley. That's my wife, Heidi, who didn't take it as well as I did. My children, Davey and Henry. My son, Davey, in the hotel two nights ago.
Kjo eshte letra e babit tim per mua, qe me tha te martoja gruan te cilen e martova per here te pare kur isha 20 vjec. Kjo eshte vajza ime dhe une. Ajo eshte akoma atje. Ajo eshte atje kete mengjes, ne fakt. Kjo eshte shtepia ime. Familja ime jeton ne Hotelin Hilton ne Scotts Valley. Kjo eshte gruaja ime, Heidi, e cila nuk e mori kete gje ne te njejten menyre si une. Femijet e mia, Davey dhe Henry. Djali im, Darvey ne hotel dy nete perpara.
So, my message to you folks, from my three minutes, is that I appreciate the chance to share this with you. I will be back. I love being at TED. I came to live it, and I am living it. That's my view from my window outside of Santa Cruz, in Bonny Doon, just 35 miles from here. Thank you everybody.
Pra, mesazhi im per ju, nga fjalimi im tre minutesh, eshte qe une e vleresoj mundesine per ta ndare kete me ju. Une do te rikthehem. Une e dashuroj faktin per te qene tek TED. Une erdha per ta jetuar kete, dhe jam duke e jetuar. Ky eshte vizioni im jashte dritares time ne Santa Cruz, ne Bonny Doon, vetem 35 milje larg prej ketu. Ju falenderoj te gjitheve.
(Applause)
(Duartrokitje)