Jeg vil gerne starte med -- et øjeblik. Sådan. Hej. Jeg vil gerne starte med at tale om strukturen af polypeptider. (Latter)
Here's my thing. Hold on. There I go. Hey. I want to start today -- talk about the structure of a polypeptide.
En masse mennesker spørger mig, i forhold til "Lost," "Hvad helvede er det for en ø?" Som regel fulgt op af, "Nej, helt ærligt, hvad helvede er det med den ø?" (Latter)
(Laughter) I get a lot of people asking me, in terms of "Lost," you know, "What the hell's that island?" You know, it's usually followed by, "No, seriously, what the hell is that island?" Why so many mysteries?
Hvorfor så mange mysterier? Hvad er det ved mysterier, der er så tiltrækkende for mig? Og jeg tænkte på hvad jeg skulle tale om til TED. Da jeg talte med den venlige kontaktperson fra TED, spurgte jeg, "Hør, hvad skal jeg tale om?" Han svarede, "Det skal du ikke tænke på. Bare være dybsindig." (Latter) Og det gjorde mig enormt rolig.
What is it about mystery that I seem to be drawn to? And I was thinking about this, what to talk about at TED. When I talked to the kind rep from TED, and I said, "Listen, you know, what should I talk about?" He said, "Don't worry about it. Just be profound." (Laughter)
Så tak, hvis du er her.
And I took enormous comfort in that. So thank you, if you're here.
Jeg prøvede at tænke på, hvad jeg gerne vil tale om? Det er et godt spørgsmål. Hvorfor involverer så meget af det jeg laver, mysterier? Og det prøvede jeg at finde ud af. Og jeg begyndte at tænke på, hvorfor jeg gør de ting jeg gør, og så begyndte jeg at tænke på min bedstefar. Jeg elskede min bedstefar. Harry Kelvin, hed han, min mors far. Han døde i 1986. Han var en fantastisk mand. Og en af grundende til, at han var fantastisk, var at han efter Anden Verdenskrig stiftede et elektronik firma. Han solgte overskudsdele, samlesæt, til skoler og lignende. Han havde en utrolig nysgerrighed. Som barn kom han over til mig med radioer og telefoner, og alle mulige ting. Og han åbnede dem, skilte dem ad, og afslørede delene inden i -- noget mange af os, tror jeg, tager for givet. Men det er en fantastisk oplevelse for et barn. At åbne den her ting, og se hvordan den virker, og hvorfor den virker, og hvad det er. Han var på mange måder den ultimative nedbryder. Og min bedstefar var typen, som ikke kun skilte ting ad, han fik også mig interesseret i alle mulige mærkelige teknikker, som eksempelvis tryk, som i en papirtrykker. Jeg er besat af papirtrykkeri. Jeg er besat af silketryk og bogbinderi, og at lave kasser. Da jeg var dreng, skilte jeg altid ting ad.
I was trying to think, what do I talk about? Good question. Why do I do so much stuff that involves mystery? And I started trying to figure it out. And I started thinking about why do I do any of what I do, and I started thinking about my grandfather. I loved my grandfather. Harry Kelvin was his name, my mother's father. He died in 1986. He was an amazing guy. And one of the reasons he was amazing: After World War II, he began an electronics company. He started selling surplus parts, kits, to schools and stuff. So he had this incredible curiosity. As a kid, I saw him come over to me with radios and telephones and all sorts of things. And he'd open them up, he'd unscrew them and reveal the inner workings -- which many of us, I'm sure, take for granted. But it's an amazing gift to give a kid. To open up this thing and show how it works and why it works and what it is. He was the ultimate deconstructor, in many ways. And my grandfather was a kind of guy who would not only take things apart, but he got me interested in all sorts of different odd crafts, like, you know, printing, like the letter press. I'm obsessed with printing. I'm obsessed with silk-screening and bookbinding and box making. When I was a kid, I was always, like, taking apart boxes and stuff.
Og i går aftes på hotellet, skilte jeg kassen med servietter ad. Jeg så bare på den. Og, jeg siger jer, det er en smuk ting.
And last night in the hotel, I took apart the Kleenex box. I was just looking at it. And I'm telling you --
Det lover jeg jer. Jeg mener, når du kigger på kassen, og du ser hvordan den virker. Rives er her, og jeg mødte ham for flere år siden på en bogmesse. Han laver pop-up bøger. Og jeg er besat af, hvordan man laver papir. Men selve udformningen af det, trykket på det, hvordan tingene bliver limet, I ved, markeringerne til blækket. Jeg elsker bare æsker. Min bedstefar var typen der, I ved, fik mig i gang med Han skaffe også værktøj til mig. Han var utrolig god til at motivere - motivere til at skabe ting. Og han skaffede mig et Super 8 kamera, da jeg var 10 år gammel. Og i 1976 var det lidt usædvanligt, at være 10 år og så have adgang til et kamera. Og han var så generøs, at jeg næsten ikke kunne fatte det. Han gjorde det ikke helt uden manipulation. Jeg mener, jeg ville ringe til ham, og sige, "Hør, bedstefar, jeg har virkelig brug for det her kamera. Du fatter det slet ikke. Det handler om, at jeg vil lave film. Jeg bliver inviteret til TED en dag. Det her er --" (Latter)
(Laughter) It's a beautiful thing. I swear to God. I mean, when you look at the box and you sort of see how it works. Rives is here, and I met him years ago at a book fair; he does pop-up books. And I'm obsessed with engineering of paper. The scoring of it, the printing of it, where the thing gets glued, the registration marks for the ink. I just love boxes. My grandfather was the guy who kind of got me into all sorts of these things. He would also supply me with tools. He was this amazing encourager -- this patron, sort of, to make stuff. And he got me a Super 8 camera when I was 10 years old. And in 1976, that was sort of an anomaly, to be a 10-year-old kid that had access to a camera. And you know, he was so generous; I couldn't believe it. He wasn't doing it entirely without some manipulation. I mean, I would call him, and I'd be like, "Listen, Grandpa, I really need this camera. You don't understand. This is, like, I want to make movies. I'll get invited to TED one day --"
(Laughter)
Og min bedstemor var fantastisk. Fordi hun ville -- hun kom til telefonen. Hun sagde, "Harry, det er bedre end stoffer. Han burde --" Hun var fantastisk. (Latter) Så jeg fik de her ting, takket være hendes hjælp, og pludselig havde jeg en synthezier da jeg var 14 -- den slags ting. Det gav mig mulighed for at skabe ting, som, for mig, var en slags drøm. Han accepterede også mine andre besættelser, som trylleri. Vi tog til en tryllebutik i New York City ved navn Lou Tannen's Magic. Det var den her utrolige tyllebutik. Det var en elendig lille bygning i midtbyen, men du stod i elevatoren, og elevatordøren åbnede -- så var der den her lille tryllebutik. Og det var bare et magisk sted. Jeg fandt alle de her forskellige tryllekunstner. Vent, her. Lad mig vise jer. Denne slags ting. Så jeg ville, I ved. Ikke? Hvilket er fint, men nu kan jeg ikke bevæge mig. Nu er jeg så nødt til at gøre sådan, resten, sådan. "Årh, prøv at se min computer derovre!" (Latter)
And, you know, my grandmother was the greatest. Because she'd be like, you know -- she'd get on the phone. She'd be like, "Harry, it's better than the drugs. She was fantastic. So I found myself getting this stuff, thanks to her assist, and suddenly, you know, I had a synthesizer when I was 14 years old -- this kind of stuff. And it let me make things, which, to me, was sort of the dream. He sort of humored my obsession to other things too, like magic. The thing is, we'd go to this magic store in New York City called Lou Tannen's Magic. It was this great magic store. It was a crappy little building in Midtown, but you'd be in the elevator, the elevator would open -- there'd be this little, small magic store. You'd be in the magic store. And it was a magical place. So I got all these magic tricks. Here. I'll show you. This is the kind of thing. So it would be like, you know. Which is good, but now I can't move. Now, I have to do the rest of the thing like this.
Nå, men en af de ting jeg købte i den tryllebutik, var den her:
I'm like, "Oh, wow. Look at my computer over there!"
(Laughter)
Tannen's Mystery Magic Box. Idéen bag den mystiske, magiske box var følgende: For 15 dollars fik man for 50 dollars tryllekunster. Altså en besparelse. (Latter) Jeg købte den her for mange år siden, og jeg lyver ikke. Hvis man ser på den, vil man se at den aldrig har været åbnet. Men jeg har haft den i vildt lang tid. Nå, men jeg sad og kiggede på den, på mit kontor, hvor den altid står på sin hylde, og jeg tænkte, hvorfor har jeg aldrig åbnet den? Og hvorfor har jeg beholdt den? Fordi jeg er ikke nogen samler. Jeg gemmer ikke alt men af en eller anden grund har jeg aldrig åbnet denne kasse. Og jeg havde på fornemmelsen, at der måtte være noget sigende i det, på en måde, til min tale om noget til TED, som jeg aldrig har talt om før, og kedet folk med andre steder. Så jeg tænkte, måske er der noget om det her. Jeg begyndte at tænke på det. Og så var der bare det her gigantiske spørgsmålstegn. Jeg elsker i øvrigt designet af den her ting. Og jeg begyndte at tænke, hvorfor har jeg aldrig åbnet den?
So one of the things that I bought at the magic store was this: Tannen's Mystery Magic Box. The premise behind the Mystery Magic Box was the following: 15 dollars buys you 50 dollars worth of magic. Which is a savings. (Laughter) Now, I bought this decades ago and I'm not kidding. If you look at this, you'll see it's never been opened. But I've had this forever. Now, I was looking at this, it was in my office, as it always is, on the shelf, and I was thinking, why have I not opened this? And why have I kept it? Because I'm not a pack rat. I don't keep everything, but for some reason I haven't opened this box. And I felt like there was a key to this, somehow, in talking about something at TED that I haven't discussed before, and bored people elsewhere. So I thought, maybe there's something with this. And there was this giant question mark. I love the design, for what it's worth, of this thing.
Og det gik op for mig, at jeg aldrig har åbnet den, fordi den repræsentere noget meget vigtigt
And I started thinking, why haven't I opened it?
-- for mig. Den repræsenterer min bedstefar. Er det tilladt at græde til TED? Fordi -- nej, jeg begynder ikke at græde. Men -- (Latter)
And I realized that I haven't opened it because it represents something important -- to me. It represents my grandfather. Am I allowed to cry at TED? Because -- no, I'm not going to cry.
(Laughter)
But --
-- sagen er den, at den repræsenterer uendelige muligheder. Den repræsenterer håb. Den repræsenterer potentiale. Og det jeg elsker ved den her kasse, og det, jeg indser, jeg altid gør, i det jeg gør, er, at jeg bliver tiltrukket uendelige muligheder, den slags potentiale. Og jeg kan se, at mysterier er en katalysator for fantasien. Okay, det er ikke den mest revolutionerende idé, men da jeg begyndte at tænke over, at der måske er et tidspunkt, hvor mystik er vigtigere end viden, begyndte jeg at være interesseret i det her.
(Laughter) The thing is that it represents infinite possibility. It represents hope. It represents potential. And what I love about this box, and what I realize I sort of do in whatever it is that I do, is I find myself drawn to infinite possibility, that sense of potential. And I realize that mystery is the catalyst for imagination. Now, it's not the most ground-breaking idea, but when I started to think that maybe there are times when mystery is more important than knowledge.
Så jeg begyndte at tænke på "Lost," og det vi laver der, og jeg indså, at der er mystik-bokse i alt hvad jeg laver! I hvordan skabelsen af "Lost," hvordan Damon Lindelof og jeg, som skabte serien sammen med mig, vi havde i bund og grund til opgave at skabe serien hvilket vi havde meget lidt tid til. Vi havde 11 en halv uge til at skrive den, caste den, optage den, klippe den og gøre det et to-timers første afsnit. Så der var ikke den store tid. Og den form for mulighed -- hvad kan det her være? Der var ingen tid til at udvikle den. Jeg er sikker på, at I alle er bekendt med de mennesker, som fortæller jeg, at I ikke kan gøre det, og hvad I burde ændre. Det var der ikke tid til, hvilket egentlig er ret utroligt. Så vi lavede serien, og for dem af jer, som ikke har set den, eller ikke kender den, kan jeg vise jer et lille klip fra første afsnit, bare for at vise jer noget af det vi lavede.
I started getting interested in this. And so I started thinking about "Lost" and the stuff that we do, and I realized, oh my God, mystery boxes are everywhere in what I do! In the creation of "Lost," Damon Lindelof and I, who created the show with me, we were basically tasked with creating this series that we had very little time to do. We had 11 and a half weeks to write it, cast it, crew it, shoot it, cut it, post it, turn in a two-hour pilot. So it was not a lot of time. And that sense of possibility -- what could this thing be? There was no time to develop it. I'm sure you're all familiar with people who tell you what you can't do and what you should change. There was no time for that, which is kind of amazing. And so we did this show, and for those of you who haven't seen it, or don't know it, I can show you one little clip from the pilot, just to show you some stuff that we did.
(Engine roaring)
Claire: Hjælp! Hjælp mig! Hjælp mig! Hjælp mig!
(Video) Claire: Help!
Please help me! Help me! Please, help me!
Jack: Få ham ud derfra! Få ham væk fra den motor. Få ham væk herfra!
Jack: Get him out of here! Get him away from the engine! Get him out of here!
(Engine roaring)
C: Jeg har veer!
C: Help me, please! I'm having contractions!
J: Hvor langt henne i graviditeten er du?
J: How many months pregnant are you?
C: Jeg er kun otte måneder.
C: I'm only eight months.
J: Og hvor lang tid er der mellem dem?
J: And how far apart are they coming?
C: Det ved jeg ikke. Jeg tror lige det er sket.
C: I don't know. I think it just happened.
Mand: Hey! Hey! Hey, kom væk fra --
Man: Hey! Hey! Hey, get away from --
JJA: Hvis vi ville gøre det der for 10 år siden, blev vi nødt til at dræbe en stuntmand. Vi havde faktisk -- (Latter) -- troet det ville være sværere. Det ville kræve -- Andet forsøg ville være et helvede.
JJ Abrams: 10 years ago, if we wanted to do that, we'd have to kill a stuntman. (Laughter)
Så det utrolige var, at her var vi i stand til at gøre det her.
It would be harder. Take two would be a bitch. (Laughter)
Og en del af det skyldes den utrolige teknologi der er tilgængelig, og at vide, at vi kan gøre hvad som helst. Jeg mener, vi kunne aldrig have gjort det der. Vi kunne måske skrive det, men vi ville aldrig kunne vise det som vi gjorde. Så en del af det utrolige, for mig, er den kreative proces, teknologi er ufatteligt inspirerende for mig. Jeg kan nu se, at det blanke stykke papir er den magiske kasse. Det skal fyldes med noget fantastisk.
So the amazing thing was, we were able to do this thing. And part of that was the amazing availability of technology, knowing we could do anything. I mean, we could never have done that. We might have been able to write it; we wouldn't have been able to depict it like we did. So part of the amazing thing for me is in the creative process, technology is mind-blowingly inspiring to me. I realize that that blank page is a magic box, you know? It needs to be filled with something fantastic.
Jeg plejede at have manuskriptet fra "Ordinary People," som jeg bladrede igennem. Jeg synes romantikken i manuskriptet er utrolig. Det ville inspirere mig. Jeg ville prøve og fylde sider med den samme ånd og tanker, og følelser, som manuskriptet gjorde. Så det -- I ved, jeg elsker Apple computere. Jeg er besat. Så Apple computeren -- ligesom de -- PowerBook'en -- denne computer -- den udfordrer mig. Den siger nærmest, hvad har du tænkt dig at skrive, som er mig værdig? (Latter) Jeg føler vel -- jeg bliver tiltrukket.
I used to have the "Ordinary People" script that I'd flip through. The romance was amazing to me; it would inspire me. I wanted to try and fill pages with the same kind of spirit and thought and emotion that that script did. So, you know, I love Apple computers. I'm obsessed. So the Apple computer -- the PowerBook -- this computer, it challenges me. It basically says, what are you going to write worthy of me? I feel this -- I'm compelled.
Og ofte må jeg sige, I ved, i dag kan jeg simpelthen ikke. Jeg har ikke noget at byde ind med. Kender I det? (Latter)
(Laughter) And I often am like, you know, dude, today I'm out.
Så det var det. I forhold til indholdet, så ser man på historier, du tænker,
I got nothing. You know? So there's that.
hvad er historier ud over mystiske kasser? Der er et fundamentalt spørgsmål -- i TV kaldes det første akt for en teaser. Det er i bogstavelig forstand en teaser. Det er det store spørgsmål. Så du bliver draget ind i det. Hvad der så sker, det er et helt andet spørgsmål. Og det bliver ved og ved. Se på eksempelvis "Star Wars." Du har droiderne. De møder en mystisk kvinde. Hvem er det? Det ved vi ikke. Mystik-boks! Så møder du Luke Skywalker. Han finder droiden, du ser det holografiske billede. Du lærer, Nårh, det er en besked. Hun vil finde Obi Wan Kenobi. Han er hendes eneste håb. Men hvem helvede er Obi Wan Kenobi? Mystik-boks! Så du følger med, og han møder Ben Kenobi. Ben Kenobi er Obi Wan Kenobi. Shit! Du ved -- det holder os -- (Latter) -- har I ikke set det? (Latter) Det er stort! Nå, men --
In terms of the content of it, you look at stories, you think, what are stories but mystery boxes? There's a fundamental question -- in TV, the first act is called the teaser. It's literally the teaser. It's the big question. So you're drawn into it. Then there's another question. And it goes on. Look at "Star Wars." The droids meet the mysterious woman. Who's that? We don't know. Mystery box! Then you meet Luke Skywalker. He gets the droid, you see the holographic image. You learn it's a message. She wants to find Obi Wan Kenobi. He's her only hope. But who's Obi Wan Kenobi? Mystery box! So then he meets Ben Kenobi. Ben Kenobi is Obi Wan Kenobi. Holy shit! So it keeps us -- (Laughter) Have you guys not seen that?
(Laughter)
Så der er det her med mystiske kasser, som jeg begyndte at blive tiltrukket af. Så er der det med mystik i forhold til fantasien -- tilbageholdensen af information. I ved, at gøre det bevidst, er meget mere medrivende. Uanset om det er som med hajen i "Dødens Gab" -- hvis Spielbergs mekaniske haj, Bruce, havde virket, havde det ikke været nær så skræmmende. Man ville have set den for meget. I "Alien" viste de aldrig rigtig alien'en: skræmmende! Selv i en film, en romantisk komedie som "Fagre voksne verden," har de den date. Kan I huske det? De sidder i bilen, og det larmer, så de tager taget op. De er derinde -- du kan ikke høre noget af det de siger! Du kan ikke høre et ord! Men det er den mest romantiske scene nogensinde. Og du elsker det, fordi du ikke kan høre det? For mig, er det det, det handler om.
It's huge! Anyway -- So there's this thing with mystery boxes that I started feeling compelled. Then there's the thing of mystery in terms of imagination -- the withholding of information. You know, doing that intentionally is much more engaging. Whether it's like the shark in "Jaws" -- if Spielberg's mechanical shark, Bruce, had worked, it would not be remotely as scary; you would have seen it too much. In "Alien", they never really showed the alien: terrifying! Even in a movie like a romantic comedy, "The Graduate," they're having that date, and they're in the car, and it's loud, and so they put the top up. You don't hear anything they're saying! You can't hear a word! But it's the most romantic date ever. And you love it because you don't hear it.
Og til sidst er der det her med -- for at strække konceptet en smule -- men idéen om den mystiske kasse. Forstået på den måde, at hvad du tror du får, og så hvad du egentlig får. Og det passer i så mange film og historier. Når du ser på "E.T.," for eksempel -- "E.T." er den her, utrolige film om hvad? Det handler om et rumvæsen, der møder en dreng. Ikke? Det vil sige, det er det ikke. "E.T." handler om skilsmisse. "E.T." handler om en knust, skilsmisseramt familie, og i sidste ende, den her dreng, der ikke ved hvad han skal gøre. "Die Hard." Skør, god, sjov, action-eventyrfilm i en bygning. Det handler om en fyr, som er på grænsen til skilsmisse. Han dukker op i L.A., med halen mellem benene. Der er gode scener -- måske ikke de mest dramatiske scener i filmhistorien, men ganske gode scener. Der er en halv times investering i rollen, før du kommer til det du, I ved, forventer.
So to me, there's that. And then, finally, there's this idea -- stretching the paradigm a little bit -- but the idea of the mystery box. Meaning, what you think you're getting, then what you're really getting. And it's true in so many movies and stories. Look at "E.T.," for example -- "E.T." is this unbelievable movie about what? It's about an alien who meets a kid, right? Well, it's not. "E.T." is about divorce. "E.T." is about a heartbroken, divorce-crippled family, and ultimately, this kid who can't find his way. "Die Hard," right? Crazy, great, fun, action-adventure movie in a building. It's about a guy who's on the verge of divorce. He's showing up to L.A., tail between his legs. There are great scenes -- maybe not the most amazing dramatic scenes in the history of time, but pretty great scenes. There's a half an hour of investment in character before you get to the stuff that you're expecting.
Når du ser en film som "Dødens Gab," den scene du, som du forventer -- har vi det billede? Det er denne type scener du husker, og forventer, fra "Dødens Gab." Hun bliver spist. Der er en haj.
When you look at a movie like "Jaws," the scene that you expect -- we have the screen? These are the kind of scenes that you remember and expect from "Jaws." And she's being eaten; there's a shark.
Det der er ved "Dødens Gab," er, at det virkeligheden handler om en mand, som prøver at finde sin plads i verden -- med sin maskulinitet, med sin familie, hvordan han kan få det til at fungere i den her nye by. Det her er en af mine absolutte favoritscener, og det er en scene som I ikke nødvendigvis ville tænke på, når I tænker på "Dødens Gab". Men det er en fantastisk scene.
(Woman screaming) The thing about "Jaws" is, it's really about a guy who is sort of dealing with his place in the world -- with his masculinity, with his family, how he's going to, you know, make it work in this new town. This is one of my favorite scenes ever, and this is a scene that you wouldn't necessarily think of when you think of "Jaws." But it's an amazing scene.
Far: Kom her. Giv et kys.
(Video) Father: C'mere. Give us a kiss.
Søn: Hvorfor?
Son: Why?
Far: Fordi jeg har brug for det.
Father: 'Cause I need it.
JJA: Helt ærligt. "Hvorfor? Fordi jeg har brug for det?" Bedste scene nogensinde, har jeg ret? Helt ærligt! Så når I tænker på "Dødens Gab" --
JJA: Come on. "Why? 'Cause I need it"? Best scene ever, right? (Laughter)
det er den slags, I ved, investeringen i en karakter, som er det stof der i virkeligheden er inde i kassen. Det er derfor, at folk der laver efterfølgere, eller kopierer film, i en genre, de kopierer det forkerte. Det er ikke meningen, at du skal kopiere hajen eller monsteret. Du skal kopiere -- I ved, hvis man kopierer noget -- kopiér karakteren. Kopiér det der betyder noget. Jeg mener, se ind i jer selv og find ud af, hvad der er inde i jer. Fordi i sidste ende, er den mystiske kasse os allesammen.
Come on! So you think of "Jaws" -- so that's the kind of stuff that, like, you know -- the investment of character, which is the stuff that really is inside the box, you know? It's why when people do sequels, or rip off movies, you know, of a genre, they're ripping off the wrong thing. You're not supposed to rip off the shark or the monster. You know, if you rip something off -- rip off the character. Rip off the stuff that matters. I mean, look inside yourself and figure out what is inside you. Because ultimately, the mystery box is all of us.
Så er der distributionen. Hvad bliver en større mystisk kasse end en biograf? Er det ikke rigtigt? Du går i biografen, og er spændt på hvad som helst. I det øjeblik lyset slukkes, er tit det bedste tidspunkt, ikke? Du er fyldt med den her utrolige -- følelsen af spændt forventning. Og tit, når filmen er i gang, sker der noget og du tænker "Åh--" og så sker der noget andet, og du tænker, "Hmm". Når det er en rigtig god film, er du med hele vejen rundt fordi du er villig til at leve dig ind i det.
So there's that. Then the distribution. What's a bigger mystery box than a movie theater? You know? You go to the theater, you're just so excited to see anything. The moment the lights go down is often the best part. And you're full of that amazing -- that feeling of excited anticipation. And often, the movie's there and it's going, and then something happens and you go, "Oh --", and then, "Mmm ..." When it's a great movie, you're along for the ride because you're willing to give yourself to it.
Så for mig, uanset om det er det, om det er TV, en iPod, computer, mobiltelefon. Det er sjovt, jeg er -- som jeg sagde, en Apple fanatiker -- og en dag, for omkring et år siden, gik jeg på nettet en morgen for at se Steve Jobs' hovedtale, fordi det gør jeg altid. Og han kom på, og præsenterede iPod Video, og hvad var der på den enorme iPod bag ham? "Lost!" Jeg havde ingen idé! Og jeg indså, shit, cirklen er fuldendt. Inspirationen jeg får fra teknologien, bruger nu det, jeg har lavet, inspireret af det, til at sælge teknologi. Jeg mener, det er vanvittigt! (Latter)
So to me, whether it's a TV, an iPod, computer, cell phone -- It's funny, I'm an -- as I said, Apple fanatic -- and one day, about a year or so ago, I was signing on online in the morning to watch Steve Jobs' keynote, because I always do. And he came on, he was presenting the video iPod, and what was on the enormous iPod behind him? "Lost"! I had no idea! And I realized, holy shit, it'd come full circle. The inspiration I get from the technology is now using the stuff that I do to sell technology. It's nuts!
Jeg ville egentlig vise jer nogle flere ting, men dem springer jeg over. Jeg vil bare gerne vise jer en ting mere, der slet ikke har noget med noget at gøre. Der er noget online. Jeg ved ikke om I har set det før. For seks år siden lavede de det her. Det her er noget der ligger online, af drengene som havde lidt erfaring med visuelle effekter. Men pointen var, at de gjorde de her ting, som brugte de mystik-bokse, som de havde -- alle har nu. Det jeg har indset, er, at det min bedstefar gjorde for mig, da jeg var dreng, har alle adgang til nu. Du behøver ikke min bedstefar, selv om du ville ønske du havde haft ham. Men jeg er nødt til at sige -- ham her laver sine ting på en Quadra 950 computer -- opløsningen er lidt lav -- ved hjælp af Infinity software, som de stoppede med at lave for 15 år siden. Han laver ting, der ser lige så fantastisk ud, som de ting jeg har set fra Hollywood.
(Laughter) I was going to show you a couple of other things I'm going to skip. I'll show you one other thing that has nothing to do with anything. This is something online; six years ago, they did this. This is an online thing done by guys who had some visual effects experience. But the point was, that they were doing things that were using these mystery boxes that they had -- everyone has now. What I've realized is what my grandfather did for me when I was a kid, everyone has access to now. You don't need to have my grandfather, though you wish you had. But I have to tell you -- this is a guy doing stuff on a Quadra 950 computer -- the resolution's a little bit low -- using Infinity software they stopped making 15 years ago. He's doing stuff that looks as amazing
Det mest utrolige mysterie, mener jeg, er nu spørgsmålet om, hvad der bliver det næste.
as stuff I've seen released from Hollywood.
Fordi nu er det demokratiseret. Nu kan alle skabe denne type medier -- det er over alt. Det jeg var heldig at få, som barn, og tiggede om, er nu tilgængeligt for alle. Og derfor er der en fantastisk følelse af muligheder derude. Og når jeg tænker på de filmskabere, som er derude nu, som ellers havde været hæmmede -- som tidligere blev holdt tilbage -- det er meget spændende.
The most incredible sort of mystery, I think, is now the question of what comes next. Because it is now democratized. So now, the creation of media -- it's everywhere. The stuff that I was lucky and begging for to get when I was a kid is now ubiquitous. And so, there's an amazing sense of opportunity out there. And when I think of the filmmakers who exist out there now who would have been silenced, you know -- who have been silenced in the past -- it's a very exciting thing.
Jeg plejede at sige, til undervisning og foredrag, at -- til en der gerne vil skrive, "Afsted! Skriv! Gør hvad du vil." Det er gratis, du behøver ikke tilladelse til at skrive. Men nu kan jeg sige, "Gå ud og lav din film!" Der er ikke noget der holder dig tilbage fra at gå ud og få fat i teknologien. Du kan lease, leje, købe ting direkte i butikkerne som er lige så godt som det grej, der bliver brugt af citat "rigtige folk". Der er ikke noget samfund, der er tjent bedst ved kun at have eliten ved magten. Og jeg føler, at det her er en utrolig mulighed for at se hvad der ellers er derude.
I used to say in classes and lectures and stuff, to someone who wants to write, "Go! Write! Do your thing." It's free, you don't need permission. But now I can say, "Go make your movie!" There's nothing stopping you from going out there and getting the technology. You can lease, rent, buy stuff off the shelf that is either as good, or just as good, as the stuff that's being used by the, you know, "legit people." No community is best served when only the elite have control. And I feel like this is an amazing opportunity
Da jeg lavede "Mission: Impossible III," havde vi fantastiske visuelle effekter. ILM lavede effekterne; det var utroligt. Og nærmest en drøm, for mig, at være involveret. Og der er et par sekvenser i filmen, som de her scener, jeg gerne vil vise jer. Sådan.
to see what else is out there. When I did "Mission: Impossible III," we had amazing visual effects. ILM did the effects; it was incredible. And sort of my dream to be involved. And there are a couple of sequences in the movie, like these couple of moments I'll show you. There's that.
(Video) Luther: Ethan, move!
(Explosion)
Okay, jeg er tydeligvis besat af store, vanvittige eksplosioner. Min favoriteffekt i filmen er den jeg vil vise jer nu. Det er en scene, hvor Toms rolle vågner op. Han er groggy. Han er helt -- ude af sig selv. Og fyren vågner op, og skubber en pistol op i hans næse, og skyder den her lille kapsel ind i hans hjerne som han senere skal bruge til at dræbe ham, som de onde nu gør.
Obviously, I have an obsession with big crazy explosions. So my favorite visual effect in the movie is the one I'm about to show you. It's a scene in which Tom's character wakes up. He's drowsy. He's crazy. And the guy wakes up, and he shoves this gun in his nose and shoots this little capsule into his brain that he's going to use later to kill him, as bad guys do.
Den onde: Godmorgen.
(Video) Brownway: Good morning.
JJA: Ok, nu. Da vi skød den scene, gjorde vi det på den måde, at skuespilleren havde pistolen, en engelsk skuespiller, Eddie Marsan -- kanon sød fyr -- han blev ved med at tage pistolen, og putte den ind i Toms næse, og det gjorde ondt på Tom. Og jeg lærte meget tidligt i min karriere: Lad være med at skade Toms næse. (Latter) Der er tre ting, du ikke skal gøre. Number to er: lad være med at skade Toms næse.
JJA: OK, now. When we shot that scene, the actor who had the gun, an English actor, Eddie Marsan -- sweetheart, great guy -- he kept taking the gun and putting it into Tom's nose, and it was hurting Tom's nose. And I learned this very early on in my career: Don't hurt Tom's nose. (Laughter)
Så Eddie har den her pistol -- og han er en kanon fyr -- han, denne virkelig flinke engelske fyr. Han siger: "Undskyld, jeg vil helst ikke skade dig." Jeg tænker -- du er nødt til -- vi er nødt til at få det her til at se godt ud. Og jeg indså, at vi var nødt til at gøre noget, fordi det virkede bare ikke, som det var. Og jeg tænkte bogstavelig talt tilbage på, hvad jeg ville have gjort med Super 8 kameraet, som min bedstefar gav, i det lokale, og jeg indså, at den hånd ikke behøvede at tilhøre Eddie Marsan. Det kunne være Toms. Og Tom ville vide hvor hårdt han kunne skubbe pistolen. Han ville ikke skade sig selv.
There are three things you don't want to do. Number two is: Don't hurt Tom's nose. So Eddie has this gun -- and he's this sweet English guy. He's like, "Sorry, I don't want to hurt you." I'm like, "We have to make this look good." And I realized that we had to do something because it wasn't working. And I thought back to what I would have done using the Super 8 camera that my grandfather got me sitting in that room, and I realized that hand didn't have to be Eddie Marsan's. It could be Tom's. And Tom would know just how hard to push the gun.
Så vi tog hans hånd, og vi malede den, så den lignede Eddies lidt mere. Vi puttede den i Eddies ærme, og derfor er den hånd, I ser -- jeg viser det lige igen, det er ikke Eddies hånd. Det er Toms. Så Tom spiller to roller. (Latter) Og han bad ikke om ekstra penge. Så her, se. Se det igen. Her er det. Han vågner op. Han er groggy, har været igennem en masse.
He wouldn't hurt himself. So we took his hand and we painted it to look a little bit more like Eddie's. We put it in Eddie's sleeve, and so the hand that you see -- that's not Eddie's hand, that's Tom's. So Tom is playing two roles. (Laughter) And he didn't ask for any more money. So here, here. Watch it again. There he is. He's waking up. He's drowsy, been through a lot.
Toms hånd. Toms hånd. Toms hånd. (Latter) Nå. Så. Tak. Man behøver altså ikke den mest fantastiske teknologi, for at gøre ting, der virker på film. Og mysterie-boksen forbliver lukket, til ære for min bedstefar.
(Video) Brownway: Good morning. JJA: Tom's hand. Tom's hand. Tom's hand. Anyway. So ... (Applause) Thanks. (Applause)
Mange tak. (Bifald)
So you don't need the greatest technology to do things that can work in movies. And the mystery box, in honor of my grandfather, stays closed.