First of all, thank you for your attention. There's nothing quite like being in a room full of people like this, where all of you are giving your attention to me. It's a powerful feeling, to get attention. I'm an actor, so I'm a bit of an expert on, well, nothing, really.
Kao prvo, hvala vam svima na pažnji. Stvarno je poseban osećaj biti u ovako punoj prostoriji gde vi svi posvećujete svu svoju pažnju baš meni. Dobijanje pažnje, snažan je to osećaj. Ja sam glumac, tako da sam stručan u, pa, ničemu zapravo.
(Laughter)
(Smeh)
But I do know what it feels like to get attention -- I've been lucky in my life to get a lot more than my fair share of attention. And I'm grateful for that, because like I said, it's a powerful feeling. But there's another powerful feeling that I've also been lucky to experience a lot as an actor. And it's funny, it's sort of the opposite feeling, because it doesn't come from getting attention. It comes from paying attention.
Ali znam vrlo dobro kakav je osećaj dobijati pažnju. Imao sam tu sreću u životu da dobijem pažnje napretek. I zahvalan sam na tome, jer kao što sam rekao, snažan je to osećaj. Ali postoji još jedan snažan osećaj koji sam imao sreće često da osetim kao glumac. Smešno je, pošto je to donekle suprotan osećaj, jer ne nastaje dobijanjem pažnje. Već nastaje obraćanjem pažnje.
When I'm acting, I get so focused that I'm only paying attention to one thing. Like when I'm on set and we're about to shoot and the first AD calls out "Rolling!" And then I hear "speed," "marker," "set," and then the director calls "Action!" I've heard that sequence so many times, like, it's become this Pavlovian magic spell for me. "Rolling," "speed," "marker," "set" and "action." Something happens to me, I can't even help it. My attention ... narrows. And everything else in the world, anything else that might be bothering me or might grab my attention, it all goes away, and I'm just ... there. And that feeling, that is what I love, that, to me, is creativity. And that's the biggest reason I'm so grateful that I get to be an actor.
Dok glumim, toliko se usredsredim da usmerim pažnju samo na jednu stvar. Kao kada sam na sceni i snimanje treba da počne i pomoćni režiser vikne: „Krećemo!" I onda čujem „kamera“, „zvuk“, „ide“ i režiser vikne: „Akcija!“ Toliko puta sam čuo te reči da su postale za mene kakav Pavlovljev trik. „Krećemo“, „kamera“, „zvuk“, „ide“, „akcija“. Nešto mi se dogodi, ne mogu protiv toga. Moja pažnja... suzi se. Sve ostalo na svetu, bilo šta što bi moglo da mi smeta ili da mi odvuče pažnju, sve to nestane, a ja sam samo... tamo. Taj osećaj, to je ono što ja volim, to je za mene kreativnost. Baš zato sam toliko zahvalan što mogu da budem glumac.
So, there's these two powerful feelings. There's getting attention and paying attention. Of course, in the last decade or so, new technology has allowed more and more people to have this powerful feeling of getting attention. For any kind of creative expression, not just acting. It could be writing or photography or drawing, music -- everything. The channels of distribution have been democratized, and that's a good thing.
Znači, postoje ova dva snažna osećaja. Dobijanje pažnje i obraćanje pažnje. Naravno, u poslednjih desetak godina, tehnologija omogućuje sve većem broju ljudi da iskuse ovaj snažan osećaj dobijanja pažnje. To važi za bilo koji kreativni poduhvat, ne samo glumu. Pisanje, fotografija, crtanje, sviranje muzike - sve. Kanali distribucije su demokratizovani, što je dobra stvar.
But I do think there's an unintended consequence for anybody on the planet with an urge to be creative -- myself included, because I'm not immune to this. I think that our creativity is becoming more and more of a means to an end -- and that end is to get attention. And so I feel compelled to speak up because in my experience, the more I go after that powerful feeling of paying attention, the happier I am. But the more I go after the powerful feeling of getting attention, the unhappier I am.
Ali svakako mislim da postoji slučajna posledica toga za bilo koju osobu na kugli zemaljskoj koja teži da bude kreativna, što uključuje i mene, pošto nisam ni ja otporan na to. Mislim da naša kreativnost sve više postaje sredstvo kojim ostvarujemo cilj, a taj cilj je dobijanje pažnje. Imam potrebu da pričam o ovome jer po mom iskustvu, što više želim da doživim taj snažni osećaj obraćanja pažnje, to sam srećniji. Ali što više težim osećaju dobijanja pažnje, to sam nesrećniji.
(One person claps)
(Jedna osoba tapše)
And -- thanks.
I... Hvala.
(Laughter)
(Smeh)
(Applause)
(Aplauz)
So this is something that goes way back for me. I think the first time I can remember using my acting to get attention, I was eight years old at summer camp. And I'd been going on auditions for about a year by then, and I'd been lucky to get some small parts in TV shows and commercials, and I bragged about it a lot, that summer at camp. And at first, it worked. The other kids gave me a bunch of extra attention, because I had been on "Family Ties." That's a picture of me on "Family Ties."
Ja još odavno imam iskustva sa ovim. Sećam se da sam prvi put iskoristio glumu da bih dobio pažnju na letnjem kampu kada sam imao osam godina. Tada sam već godinu dana išao po audicijama, i imao sam sreće da dobijem par manjih uloga u TV serijama i reklamama, i hvalio sam se time poprilično tog leta na kampu. Na početku, upalilo je. Druga deca su mi davala mnogo dodatne pažnje, jer sam dobio ulogu u seriji „Porodične veze“. Ovo je slika mene u „Porodičnim vezama“.
(Laughter)
(Smeh)
Then, the tide turned -- I think I took it too far with the bragging. And then, the other kids started to make fun of me. I remember there was this one girl I had a crush on, Rocky. Her name was Rachel, she went by Rocky. And she was beautiful, and she could sing, and I was smitten with her, and I was standing there, bragging. And she turned to me and she called me a show-off. Which I 100 percent deserved. But you know, it still really hurt. And ever since that summer, I've had a certain hesitance to seek attention for my acting.
I onda su se stvari preokrenule. Mislim da sam preterao sa svojim hvalisanjem. Druga deca su tada počela da me ismevaju. Bila je tamo i jedna devojčica koja mi se dopadala, Roki. Zvala se Rejčel, a zvali su je Roki. Bila je prelepa i umela je da peva, očarala me je skroz, te sam stajao tamo i hvalio se. Onda mi se ona obratila i nazvala me običnim hvalisavcem. Što sam u potpunosti zaslužio. Ali znate, baš me je povredilo. I od tog leta, oklevao sam da tražim pažnju za svoju glumu.
Sometimes, people would ask me, "Wait a minute, if you don't like the attention, then why are you an actor?" And I'd be like, "Because that's not what acting's about, man, it's about the art." And they'd be like, "OK, OK, dude."
Ponekad bi me ljudi pitali: „Čekaj malo, ako ne voliš pažnju, zašto se baviš glumom?“ A ja bih im rekao: „To nije poenta glume, čoveče, gluma je umetnost.“ I oni bi mi odgovorili sa: „Važi, brate.“ (Smeh)
(Laughter)
And then Twitter came out. And I got totally hooked on it, just like everybody else, which made me into a complete hypocrite. Because at that point, I was absolutely using my acting to get attention. I mean, what, did I think I was just getting all these followers because of my brilliant tweets? I actually did think that -- I was like --
I onda se pojavio Tviter. Zalepio sam se za njega, kao i svi ostali, što me je pretvorilo u pravog licemera. Jer u tom periodu, itekako sam koristio svoju glumu da bih dobijao pažnju. Mislim, šta, da nisam možda dobijao sve te pratioce zbog svojih genijalnih tvitova? Zapravo, jesam mislio da je to razlog...
(Laughter)
(Smeh)
"They don't just like me because they saw me in 'Batman,' they like what I have to say, I've got a way with words."
„Nije da me vole samo zato što su me videli u „Betmenu“, vole ono što imam da kažem, šarmiram ih rečima.“
(Laughter)
(Smeh)
And then in no time at all, it started having an impact on my dearly beloved creative process. It still does. I try not to let it. But you know, I'd be sitting there, like, reading a script. And instead of thinking, "How can I personally identify with this character?" Or "How is the audience going to relate to this story?" I'm like, "What are people going to say about this movie on Twitter?" And "What will I say back that will be good and snarky enough to get a lot of retweets, but not too harsh, because people love to get offended, and I don't want to get canceled?" These are the thoughts that enter my mind when I'm supposed to be reading a script, trying to be an artist.
I za tili čas, to je sve počelo da utiče na moj voljeni kreativni proces. Još uvek i utiče. Trudim se da to ne dopustim. Ali znate, ja tako sedim i čitam scenario, i umesto da pomislim: „Kako mogu da se poistovetim sa ovim likom?“ Ili: „Kako će publika da reaguje na ovu priču?“ Ja pomislim: „Šta će ljudi na Tviteru da kažu o ovom filmu?“ „Šta ću ja da im odgovorim a da bude dovoljno sarkastično da dobije mnogo retvitova, ali da ne budem baš grub pošto se ljudi lako uvrede, a ne želim da me odbace?" Ove misli mi se vrzmaju po glavi kada bi trebalo da čitam scenario, pokušavajući da budem umetnik. I nisam ovde da vam kažem
And I'm not here to tell you that technology is the enemy of creativity. I don't think that. I think tech is just a tool. It has the potential to foster unprecedented human creativity. Like, I even started an online community called HITRECORD, where people all over the world collaborate on all kinds of creative projects, so I don't think that social media or smartphones or any technology is problematic in and of itself. But ... if we're going to talk about the perils of creativity becoming a means to get attention, then we have to talk about the attention-driven business model of today's big social media companies, right?
da je tehnologija neprijatelj kreativnosti. To ni ne mislim. Mislim da je tehnologija alat. Ona ima potencijal da gaji neviđenu ljudsku kreativnost. Ja sam čak osnovao onlajn zajednicu koja se zove HITRECORD, preko koje ljudi sa celog sveta sarađuju na raznim kreativnim projektima, tako da ne mislim da su društvene mreže, pametni telefoni ili tehnologija generalno sami po sebi problem. Ali... Ako pričamo o riziku pretvaranja kreativnosti u sredstvo za dobijanje pažnje, onda moramo da pričamo o poslovnom modelu usmerenom na pažnju koji imaju današnje velike medijske kompanije, zar ne?
(Applause)
(Aplauz)
This will be familiar territory for some of you, but it's a really relevant question here: How does a social media platform like, for example, Instagram, make money? It's not selling a photo-sharing service -- that part's free. So what is it selling? It's selling attention. It's selling the attention of its users to advertisers. And there's a lot of discussion right now about how much attention we're all giving to things like Instagram, but my question is: How is Instagram getting so much attention?
Ovo će biti poznata teritorija za neke od vas, ali je stvarno relevantno pitanje ovde. Na koji način društvena platforma, kao na primer Instagram, zarađuje novac? Ne prodaje nam mogućnost deljenja slika, taj deo je besplatan. Šta nam onda prodaje? Prodaje pažnju. Prodaje pažnju svojih korisnika onima koji se reklamiraju. Trenutno se vodi mnogo rasprava o tome koliko pažnje svi mi dajemo Instagramu i sličnim aplikacijama, ali moje pitanje je kako Instagram dobija toliko pažnje?
We get it for them. Anytime somebody posts on Instagram, they get a certain amount of attention from their followers, whether they have a few followers or a few million followers. And the more attention you're able to get, the more attention Instagram is able to sell. So it's in Instagram's interest for you to get as much attention as possible. And so it trains you to want that attention, to crave it, to feel stressed out when you're not getting enough of it. Instagram gets its users addicted to the powerful feeling of getting attention. And I know we all joke, like, "Oh my God, I'm so addicted to my phone," but this is a real addiction. There's a whole science to it. If you're curious, I recommend the work of Jaron Lanier, Tristan Harris, Nir Eyal.
Mi mu je dajemo. Svaki put kada neko postavi sliku na Instagram, on dobije određenu dozu pažnje od svojih pratilaca, makar imao samo par pratilaca ili čak par miliona. I što više pažnje možete da dobijete, to više pažnje Instagram može da proda. Instagramu je u interesu da vi dobijete što je više pažnje moguće. Dresira vas da imate potrebu za pažnjom, da žudite za njom, da osetite stres ako je ne dobijate dovoljno. Instagram navuče svoje korisnike na taj snažni osećaj dobijanja pažnje. I znam da svi u šali govorimo: „Bože, ceo život mi zavisi od telefona,“ ali to stvarno jeste zavisnost. Cela nauka stoji iza toga. Ako vas zanima, preporučujem dela Džarona Lanijera, Tristana Harisa, Nira Ejala.
But here's what I can tell you. Being addicted to getting attention is just like being addicted to anything else. It's never enough. You start out and you're thinking, "If only I had 1,000 followers, that would feel amazing." But then you're like, "Well, once I get to 10,000 followers," and, "Once I get to 100 -- Once I get to a million followers, then I'll feel amazing."
Ali evo šta mogu da vam kažem. Biti zavisnik od dobijanja pažnje je isto kao i biti zavisnik od nečeg drugog. Nikada vam nije dosta. Počnete s tim i onda pomislite: „Kada bih samo imao 1000 pratilaca, onda bih se osećao odlično." I posle pomislite: „Oh, samo da dobijem 10 000 pratilaca," „Kada dobijem 100 - „Kada dobijem milion pratilaca, onda ću odlično da se osećam."
So I have 4.2 million followers on Twitter -- it's never made me feel amazing. I'm not going to tell you how many I have on Instagram, because I feel genuine shame about how low the number is, because I joined Instagram after "Batman" came out.
Ja imam 4,2 miliona pratilaca na Tviteru, nikada se nisam osećao odlično zbog toga. Neću vam reći koliko pratilaca imam na Instagramu, jer se iskreno sramotim koliko je ta cifra niska, pošto sam napravio profil na Instagramu tek nakon što je izašao „Betmen".
(Laughter)
(Smeh)
And I search other actors, and I see that their number is higher than mine, and it makes me feel terrible about myself. Because the follower count makes everybody feel terrible about themselves. That feeling of inadequacy is what drives you to post, so you can get more attention, and then that attention that you get is what these companies sell, that's how they make their money. So there is no amount of attention you can get where you feel like you've arrived, and you're like, "Ah, I'm good now."
I pretražim druge glumce i vidim da je njihova cifra veća od moje, i onda se osećam grozno. Pošto broj pratilaca tera svakoga da se oseća grozno. Zbog tog osećaja neadekvatnosti stavljate nove slike, da bi dobili više pažnje, a medijske kompanije prodaju tu pažnju koju vi dobijete, baš tako zarađuju novac. Nema te količine pažnje koja bi vas u potpunosti zadovoljila, kada biste pomislili: „Ah, sada sam dobro".
And of course, there are a lot of actors who are more famous than I am, have more followers than I do, but I bet you they would tell you the same thing. If your creativity is driven by a desire to get attention, you're never going to be creatively fulfilled.
Naravno, postoje mnogi glumci koji su mnogo poznatiji nego ja, koji imaju mnogo više pratilaca, ali kladim se da bi vam rekli istu stvar. Ako vašu kreativnost gura glad za pažnjom, nikada se nećete osećati kreativno ispunjeno.
But I do have some good news. There is this other powerful feeling. Something else you can do with your attention besides letting a giant tech company control it and sell it. This is that feeling I was talking about, why I love acting so much -- it's being able to pay attention to just one thing.
Ali, imam ipak neke dobre vesti. Postoji jedan drugi snažni osećaj. Nešto drugo što možete da uradite sa svojom pažnjom, osim da dozvolite velikoj kompaniji da je kontroliše i prodaje. O ovom osećaju sam bio pričao, zbog kog toliko volim glumu - usmeravanje pažnje samo na jednu stvar.
Turns out there's actually some science behind this too. Psychologists and neuroscientists -- they study a phenomenon they call flow, which is this thing that happens in the human brain when someone pays attention to just one thing, like something creative, and manages not to get distracted by anything else. And some say the more regularly you do this, the happier you'll be.
Nauka zapravo podržava sve ovo. Psiholozi i neuronaučnici izučavaju fenomen koji nazivaju „tok“. To je ono što se desi ljudskom mozgu kada neko usmeri pažnju samo na jednu stvar, kao na nešto kreativno, i ne dozvoli ničemu da mu odvrati pažnju. Neki kažu da što više radimo to, to ćemo biti srećniji.
Now I'm not a psychologist or a neuroscientist. But I can tell you, for me, that is very true. It's not always easy, it's hard. To really pay attention like this takes practice, everybody does it their own way. But if there's one thing I can share that I think helps me focus and really pay attention, it's this: I try not to see other creative people as my competitors. I try to find collaborators. Like, if I'm acting in a scene, if I start seeing the other actors as my competitors, and I'm like, "God, they're going to get more attention than I am, people are going to be talking about their performance more than mine" -- I've lost my focus. And I'm probably going to suck in that scene.
Sad, ja nisam psiholog ili neuronaučnik. Ali mogu da vam kažem iz ličnog iskustva da to jeste istina. Nije uvek lako, teško je zapravo. Da bi se zaista obraćala pažnja potrebna je vežba, svako to radi na svoj način. Ali mogu da podelim sa vama jednu stvar koja meni pomaže da se fokusiram i zapravo obraćam pažnju. Pokušavam da ne gledam na druge kreativne ljude kao konkurenciju. Pokušavam da nađem saradnike. Na primer, ako glumim u sceni, i krenem da gledam na druge glumce kao da su mi konkurencija, pomislim: „Joj bože, dobiće više pažnje nego ja, više će se pričati o njihovom nastupu nego o mom.“ Tada gubim fokus. I verovatno ću biti grozan u toj sceni.
But when I see the other actors as collaborators, then it becomes almost easy to focus, because I'm just paying attention to them. And I don't have to think about what I'm doing -- I react to what they're doing, they react to what I'm doing, and we can kind of keep each other in it together. But I don't want you to think it's only actors on a set that can collaborate in this way. I could be in whatever kind of creative situation. It could be professional, could be just for fun. I could be collaborating with people I'm not even in the same room with. In fact, some of my favorite things I've ever made, I made with people that I never physically met.
Ali kada gledam na druge glumce kao saradnike, tada fokusiranje skoro postaje lako, pošto samo na njih obraćam pažnju. Ne moram ni da mislim o tome šta radim. Samo reagujem na ono što oni rade, oni reaguju na ono što ja radim, i tako se međusobno podržavamo. I ne želim da mislite da samo glumci na sceni mogu da sarađuju na ovakav način. To može da se desi u bilo kojoj kreativnoj situaciji. Može da bude profesionalno, ili samo zabave radi. Mogu da sarađujem sa ljudima čak i ako se ne nalazimo u istoj prostoriji. Zapravo, neke od omiljenih stvari koje sam stvorio, stvorio sam sa ljudima koje nikada nisam uživo upoznao.
And by the way, this, to me, is the beauty of the internet. If we could just stop competing for attention, then the internet becomes a great place to find collaborators. And once I'm collaborating with other people, whether they're on set, or online, wherever, that makes it so much easier for me to find that flow, because we're all just paying attention to the one thing that we're making together. And I fell like I'm part of something larger than myself, and we all sort of shield each other from anything else that might otherwise grab our attention, and we can all just be there.
Inače, to je ono što meni predstavlja lepotu interneta. Ako bismo samo prestali da se takmičimo oko pažnje, internet bi tada postao odlično mesto za pronalaženje saradnika. I kada sarađujem sa drugima, bilo to na sceni, preko interneta, gdegod, pronalaženje onog toka postane toliko lakše, jer svi mi samo usmeravamo pažnju na tu jednu stvar koju zajedno pravimo. Dobijem osećaj da sam deo nečeg većeg i bitnijeg, i svi nekako štitimo jedno drugo od bilo čega što bi inače moglo da nam odvuče pažnju, svi možemo jednostavno da budemo... tamo.
At least that's what works for me. Sometimes. Sometimes -- it doesn't always work. Sometimes, I still totally get wrapped up in that addictive cycle of wanting to get attention. I mean, like, even right now, can I honestly say there's not some part of me here who's like, "Hey, everybody, look at me, I'm giving a TED Talk!"
To je bar ono što meni odgovara. Ponekad. Ponekad, ne upali baš uvek. Ponekad me potpuno uvuče taj zavisnički vrtlog potrage za pažnjom. Čak i sada, da li mogu iskreno da kažem da deo mene ne želi da vikne: „Hej ljudi, vidite mene, ja držim TED govor!"
(Laughter)
(Smeh)
There is -- there's, you know, some part. But I can also honestly say that this whole creative process of writing and giving this talk, it's been a huge opportunity for me to focus and really pay attention to something I care a lot about.
Postoji taj deo, mali deo. Ali takođe mogu iskreno da kažem da ceo kreativni proces pisanja i držanja ovog govora predstavlja jednu veliku priliku za mene da se fokusiram i stvarno obratim pažnju na nešto do čega mi je veoma stalo.
So regardless of how much attention I do or don't get as a result, I'm happy I did it. And I'm grateful to all of you for letting me. So thank you, that's it, you can give your attention to someone else now.
Bez obzira na to koliko pažnje dobijem ili ne dobijem na kraju, drago mi je što sam ga održao. I zahvalan sam svima vama što ste mi to dopustili. Hvala vam, to je to, sada možete nekom drugom da posvetite svoju pažnju.
Thanks again.
Hvala vam ponovo.
(Applause)
(Aplauz)