One thing I wanted to say about film making is -- about this film -- in thinking about some of the wonderful talks we've heard here, Michael Moschen, and some of the talks about music, this idea that there is a narrative line, and that music exists in time. A film also exists in time; it's an experience that you should go through emotionally. And in making this film I felt that so many of the documentaries I've seen were all about learning something, or knowledge, or driven by talking heads, and driven by ideas. And I wanted this film to be driven by emotions, and really to follow my journey. So instead of doing the talking head thing, instead it's composed of scenes, and we meet people along the way. We only meet them once. They don't come back several times, so it really chronicles a journey. It's something like life, that once you get in it you can't get out.
Jedna stvar koju želim reći o snimanju filmova -- o tom filmu -- u razmišljanju o nekim od prekrasnih govora koje smo čuli ovdje, Michael Moschen, i neki od govora o glazbi, je ta ideja kako postoji pripovjedačka linija, i kako glazba postoji u vremenu. Film isto tako postoji u vremenu, to je iskustvo kroz koje biste trebali proći emocionalno. A u izradi ovog filma osjećao sam kako su mnogi dokumentarni filmovi koje sam vidio bili o učenju nečega, ili znanja, ili potaknuti glavama koje govore, i potaknuti idejama. I želio sam da ovaj film bude potaknut osjećajima, i da doista slijedi moje putovanje. Dakle, umjesto glava koje govore, on je sastavljen od scena, i mi susreće ljude duž našeg puta. Srećemo ih samo jednom. Oni se ne vraćaju natrag više puta, pa stoga to doista bilježi putovanje. To je nešto poput života, jednom kada uđeš u njega ne možeš izaći van.
There are two clips I want to show you, the first one is a kind of hodgepodge, its just three little moments, four little moments with three of the people who are here tonight. It's not the way they occur in the film, because they are part of much larger scenes. They play off each other in a wonderful way. And that ends with a little clip of my father, of Lou, talking about something that is very dear to him, which is the accidents of life. I think he felt that the greatest things in life were accidental, and perhaps not planned at all. And those three clips will be followed by a scene of perhaps what, to me, is really his greatest building which is a building in Dhaka, Bangladesh. He built the capital over there. And I think you'll enjoy this building, it's never been seen -- it's been still photographed, but never photographed by a film crew. We were the first film crew in there.
Postoje dva video isječka koja vam želim pokazati, prvi je neka vrsta čudne mješavine, to je samo tri mala trenutka, četiri mala trenutka s tri osobe koje su večeras ovdje. Nije način na koji se pojavljuju u filmu, jer su oni dio mnogo većih prizora. Oni izigravaju jedan drugoga na prekrasan način. A to završava s malim video isječkom mog oca, Lou-a, koji priča o nečemu što je njemu vrlo drago, a to su životne zgode. Mislim kako je osjećao kako su najveće stvari u životu slučajne, i možda uopće nisu planirane. A nakon ta tri isječka će slijediti prizor nečega što je po meni, njegova uistinu najbolja građevina a to je zgrada u Dhaki, Bangladešu. On je tamo izgradio glavni grad. I mislim kako ćete uživati u toj zgradi, nikada nije bila viđena, još uvijek se fotografira, ali nikada je nije fotografirala filmska ekipa. Mi smo bili prva filmska ekipa tamo unutra.
So you'll see images of this remarkable building. A couple of things to keep in mind when you see it, it was built entirely by hand, I think they got a crane the last year. It was built entirely by hand off bamboo scaffolding, people carrying these baskets of concrete on their heads, dumping them in the forms. It is the capital of the country, and it took 23 years to build, which is something they seem to be very proud of over there. It took as long as the Taj Mahal. Unfortunately it took so long that Lou never saw it finished. He died in 1974. The building was finished in 1983. So it continued on for many years after he died. Think about that when you see that building, that sometimes the things we strive for so hard in life we never get to see finished.
Dakle, vidjet ćete snimke te izvanredne zgrade. Par stvari koje trebate imati na umu kada je vidite, jest kako je u potpunosti izgrađena ručno, mislim kako su prošle godine dobili dizalicu. U potpunosti je ručno izgrađena na skelama od bambusa, i ljudi koji nose te košare betona na svojim glavama, i odlažu ih u kalupe. To je glavni grad zemlje, i trebalo je 23 godine da se izgradi, što je nešto na što su tamo jako ponosni. Trajalo je jednako dugo kao i izgradnja Taj Mahala. Nažalost, gradnja je trajala toliko dugo da Lou nikada nije dočekao završetak. Umro je 1974. godine. Zgrada je završena 1983. godine. Dakle, gradnja je nastavljena mnogo godina nakon što je on umro. Razmislite o tome kada vidite tu zgradu, kako nekada stvari kojima težimo toliko marljivo cijeli život, nikada ne vidimo završene.
And that really struck me about my father, in the sense that he had such belief that somehow, doing these things giving in the way that he gave, that something good would come out of it, even in the middle of a war, there was a war with Pakistan at one point, and the construction stopped totally and he kept working, because he felt, "Well when the war is done they'll need this building." So, those are the two clips I'm going to show. Roll that tape. (Applause)
I to me doista pogodilo o mom ocu, na način da je imao takvo uvjerenje kako će nekako, radeći te stvari, dajući na način na koji je on davao, kako će nešto dobro proizaći iz toga, čak i usred rata, u jednom trenutku vodio se rat s Pakistanom, i gradnja je u potpunosti stala a on je nastavio raditi, jer je osjećao, "Pa, kada rat završi, trebat će im ova zgrada." Dakle, to su dva video isječka koja vam želim pokazati. Zavrtite tu vrpcu. (Pljesak)
Richard Saul Wurman: I remember hearing him talk at Penn. And I came home and I said to my father and mother, "I just met this man: doesn't have much work, and he's sort of ugly, funny voice, and he's a teacher at school. I know you've never heard of him, but just mark this day that someday you will hear of him, because he's really an amazing man."
Richard Saul Wurman: Sjećam se slušajući ga kako priča na Penn Sveučilištu. I došao sam doma i rekao svom ocu i majci, "Upravo sam upoznao tog čovjeka, nema puno posla, i ima prilično ružan, smiješan glas, i on je profesor na Sveučilištu. Znam kako nikada niste čuli o njemu, ali obilježite ovaj dan kako ćete jednom čuti za njega, jer on je doista izniman čovjek."
Frank Gehry: I heard he had some kind of a fling with Ingrid Bergman. Is that true?
Frank Gehry: Čuo sam kako je imao neku vrstu afere s Ingrid Bergman. Je li to istina?
Nathaniel Kahn: If he did he was a very lucky man.
Nathaniel Kahn: Ukoliko jest, on je bio doista sretan čovjek.
(Laughter)
(Smijeh)
NK: Did you hear that, really?
NK: jeste li to čuli, doista?
FG: Yeah, when he was in Rome.
FG: Da, kada sam bio u Rimu.
Moshe Safdie: He was a real nomad. And you know, when I knew him when I was in the office, he would come in from a trip, and he would be in the office for two or three days intensely, and he would pack up and go. You know he'd be in the office till three in the morning working with us and there was this kind of sense of the nomad in him. I mean as tragic as his death was in a railway station, it was so consistent with his life, you know? I mean I often think I'm going to die in a plane, or I'm going to die in an airport, or die jogging without an identification on me. I don't know why I sort of carry that from that memory of the way he died. But he was a sort of a nomad at heart.
Moshe Safdie: On je bio pravi nomad. I znaš, kada sam ga poznavao kada sam bio u uredu, on bi se vratio s puta, i ostao bi u uredu intenzivno dva ili tri dana, i zatim bi se ponovno spakirao i otišao. Znaš, on bi bio u uredu sve do tri ujutro radeći s nama i postojao je taj osjećaj prisutnosti skitnice u njemu. Mislim, koliko god njegova smrt na željezničkoj pruzi bila tragična, bila je toliko dosljedna njegovu životu, znaš? Mislim, ja često razmišljam kako ću umrijeti u avionu, ili ću umrijeti na aerodromu, ili ću umrijeti trčeći bez ikakve identifikacije na sebi. Ne znam zašto nosim to kao sjećanje na način na koji je umro. Ali u srcu je bio neka vrsta skitnice.
Louis Kahn: How accidental our existences are really and how full of influence by circumstance.
Louis Kahn: Koliko slučajna su uistinu naša postojanja i koliko puna utjecaja okolnosti.
Man: We are the morning workers who come, all the time, here and enjoy the walking, city's beauty and the atmosphere and this is the nicest place of Bangladesh. We are proud of it.
Čovjek: Mi smo jutarnji radnici koji dolaze, cijelo vrijeme, ovdje i uživamo u šetnji, gradskoj ljepoti i atmosferi i ovo je najljepše mjesto u Bangladešu. Ponosni smo na to mjesto.
NK: You're proud of it?
NK: Ponosni ste?
Man: Yes, it is the national image of Bangladesh.
Čovjek: Da, to je nacionalna slika Bangladeša.
NK: Do you know anything about the architect?
NK: Znate li išta o arhitektu?
Man: Architect? I've heard about him; he's a top-ranking architect.
Čovjek: Arhitektu? Čuo sam kako je on [nejasno] arhitekt.
NK: Well actually I'm here because I'm the architect's son, he was my father.
NK: Pa, zapravo ja sam ovdje jer sam ja sin arhitekta, on je bio moj otac.
Man: Oh! Dad is Louis Farrakhan?
Čovjek: O! Otac je Loius Farrakhan?
NK: Yeah. No not Louis Farrakhan, Louis Kahn.
NK: Da. Ne nije Louis Farrakhan, Louis Kahn.
Man: Louis Kahn, yes!
Čovjek: Louis Kahn, da!
(Laughter)
(Smijeh)
Man: Your father, is he alive?
Čovjek: Vaš otac, je li živ?
NK: No, he's been dead for 25 years.
NK: Ne, mrtav je već 25 godina.
Man: Very pleased to welcome you back.
Čovjek: Vrlo nam je drago što ste se vratili.
NK: Thank you.
NK: Hvala vam.
NK: He never saw it finished, Pop. No, he never saw this.
NK: On nikada nije vidio završetak gradnje, Pop. Ne, nikada nije vidio ovo.
Shamsul Wares: It was almost impossible, building for a country like ours. In 30, 50 years back, it was nothing, only paddy fields, and since we invited him here, he felt that he has got a responsibility. He wanted to be a Moses here, he gave us democracy. He is not a political man, but in this guise he has given us the institution for democracy, from where we can rise. In that way it is so relevant. He didn't care for how much money this country has, or whether he would be able to ever finish this building, but somehow he has been able to do it, build it, here. And this is the largest project he has got in here, the poorest country in the world.
Shamsul Wares: Bilo je gotovo nemoguće, graditi za zemlju poput naše, jer prije 50 godina, nije bilo ničega, samo rižina polja, a kako smo ga pozvali ovamo, osjećao je kako ima odgovornost. On je želio ovdje biti Mojsije, dao nam je demokraciju. On nije političar, ali pod tom krinkom nam je dao tu instituciju za demokraciju, iz koje se možemo uzdići. U tom smislu je jako važna. On nije mario koliko novca ova zemlja ima, ili hoće li ikada uspijeti završiti gradnju ove zgrade, ali nekako mu je uspjelo, izgraditi je, ovdje. A ovo je najveći projekt koji je imao, upravo ovdje, u najsiromašnijoj zemlji svijeta.
NK: It cost him his life.
NK: Stajala ga je života.
SW: Yeah, he paid. He paid his life for this, and that is why he is great and we'll remember him. But he was also human. Now his failure to satisfy the family life, is an inevitable association of great people. But I think his son will understand this, and will have no sense of grudge, or sense of being neglected, I think. He cared in a very different manner, but it takes a lot of time to understand that. In social aspect of his life he was just like a child, he was not at all matured. He could not say no to anything, and that is why, that he cannot say no to things, we got this building today. You see, only that way you can be able to understand him. There is no other shortcut, no other way to really understand him. But I think he has given us this building and we feel all the time for him, that's why, he has given love for us. He could not probably give the right kind of love for you, but for us, he has given the people the right kind of love, that is important. You have to understand that. He had an enormous amount of love, he loved everybody. To love everybody, he sometimes did not see the very closest ones, and that is inevitable for men of his stature.
SW: Da, platio je. Platio je životom za ovo, i upravo zato je on velik i mi ćemo ga se sjećati. Ali ujedno je bio čovjek, sada njegov neuspjeh da zadovolji obiteljski život, je bila neizbježna asocijacija velikih ljudi. Ali mislim kako će njegov sin to razumijeti, i neće imati nikakvu zamjerku, ili osjećaj zanemarenosti, mislim. On je mario na vrlo drugačiji način, ali potrebno je mnogo vremena kako bi se to razumijelo. U društvenom aspektu svog života, on je bio poput djeteta, nije uopće sazrio. Nije mogao reći ne ničemu, i zato, zbog toga što nije mogao reći ne stvarima, imamo ovu zgradu danas. Vidite, samo na taj način, moći ćete ga razumijeti. Ne postoji nijedan drugi prečac, niti jedan drugi način da ga se uistinu razumije. Ali mislim, kako nam je dao tu zgradu i stalno imamo osjećaje prema njemu, zato jer je dao ljubav za nas. Možda vama nije dao pravu vrstu ljubavi, ali nama, dao je nama ljudima pravu vrstu ljubavi, i to je važno. Morate shvatiti to. Imao je ogromnu količinu ljubavi, sve je volio. Kako je sve volio, nekada nije primjetio svoje najbliže, a to je neizbježno za ljude njegova ugleda.
(Applause)
(Pljesak)