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.
O filmovaní som chcel povedať -- o tomto filme -- mysliac na niektoré zo skvelých prednášok, ktoré sme tu počuli, napríklad Michaela Moschena a niektoré prednášky o hudbe, že existuje rozprávačstvo a že hudba existuje v čase. Film takisto existuje v čase. Je to zážitok, ktorý by ste mali precítiť. Pri filmovaní som cítil, že veľa dokumentárnych filmov, ktoré som videl, bolo o učení sa, alebo o poznaní, boli moderované a motivované myšlienkami. Chcel som ale tento film podriadiť citom a sledovať ním moju cestu. Namiesto filmu poskladaného zo scén a rozprávačov teda stretávame pozdĺž cesty ľudí. Stretneme ich len raz. Nevrátia sa niekoľkokrát, takže to naozaj dokumentuje cestu. Je to ako život. Ak doňho vstúpite, nemôžete vystúpiť.
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.
Chcem vám ukázať dva klipy. Prvý je taká zlátanina. Len tri krátke momenty, štyri krátke momenty s tromi ľuďmi, ktorí tu dnes večer sú. Nie je to o tom, ako sa vyskytujú vo filme, lebo sú súčasťou oveľa väčších scén. Nahrávajú si báječným spôsobom. Končí sa to krátkym klipom môjho otca, Lou, ktorý rozpráva o niečom, čo je mu veľmi drahé, o náhodách v živote. Podľa mňa cítil, že tie najväčšie veci v živote boli náhodami, asi vôbec neplánované. Po tých troch klipoch nasleduje scéna, s podľa mňa úplne najúžasnejšiou budovou - budova v Dhake v Bangladéši. Vybudoval tam parlament. Myslím, že sa vám tá budova bude páčiť, nikdy nebola videná. Bola fotografovaná, ale nikdy nebola nafilmovaná. Boli sme tam prvým filmovým štábom.
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.
Keď uvidíte tú výnimočnú budovu, berte do úvahy niekoľko faktov. Bola vybudovaná celá ručne. Myslím, že zohnali žeriav len minulý rok. Celá bola vybudovaná ručne z bambusového lešenia. Ľudia nosili koše s betónom na hlavách, a vyprázdňovali ich do foriem. Je to hlavné mesto krajiny a výstavba trvala 23 rokov, na čo sú tam ľudia zjavne veľmi hrdí. Trvalo to tak dlho ako Taj Mahal. Bohužiaľ pridlho, aby to Lou videl dokončené. Zomrel v 1974-tom. Budova bola dokončená v roku 1983. Výstavba pokračovala veľa rokov po jeho smrti. Myslite na to, keď tú budovu uvidíte, že nie vždy uvidíme dokončené to, o čo sa v živote tak veľmi usilujeme.
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)
To ma naozaj zaskočilo na mojom otcovi, ako veril v to, že nejako robiac toto všetko, dávajúc, ako dával, že niečo dobré z toho vzíde, dokonca aj počas vojny - vtedy tam prebiehala vojna s Pakistanom. Výstavba bola úplne zastavená, ale on pokračoval, pretože cítil, že: "Keď sa vojna skončí, budú túto budovu potrebovať." Takže ukážem dva klipy. Pustite pásku. (Potlesk)
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: Pamätám si, čo rozprával v Penn. Prišiel som domov a povedal svojmu otcovi a matke, "Práve som stretol muža, čo nemá moc na práci, je celkom škaredý so smiešnym hlasom, je učiteľom v škole. Ešte ste o ňom nikdy nepočuli, ale dnešok si zapamätajte, budete raz o ňom ešte počuť, pretože je skutočne výnimočný muž."
Frank Gehry: I heard he had some kind of a fling with Ingrid Bergman. Is that true?
Frank Gehry: Počul som, že mal nejaký románik s Ingrid Bergman. Je to pravda?
Nathaniel Kahn: If he did he was a very lucky man.
Nathaniel Kahn: Ak mal, bol veľmi šťastným mužom.
(Laughter)
(Smiech)
NK: Did you hear that, really?
NK: Naozaj si to počul?
FG: Yeah, when he was in Rome.
FG: Áno, keď bol v Ríme.
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 bol skutočný nomád. Vieš, keď som ho poznal, keď som bol v kancelárii, prišiel z cesty, bol v kancelárii dva alebo tri dni, a potom sa zbalil a šiel. Zvykol byť v kancelárii do tretej rána pracujúc s nami, mal v sebe niečo nomádske. Jeho smrť na stanici bola tragická, ale zhodovala sa s jeho životom. Často si myslím, že umriem v lietadle alebo na letisku alebo počas behu bez akejkoľvek identifikácie. Nosím so sebou asi v spomienke na to, ako umrel. Bol však nomádom od srdca.
Louis Kahn: How accidental our existences are really and how full of influence by circumstance.
Louis Kahn: Akou náhodou sú naše existencie a nakoľko ovplyvnené okolnosťami.
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.
Muž: My sme raňajší robotníci, ktorí sem vždy prídu a užívajú si prechádzku, mestskú krásu a atmosféru a toto je najkrajšie miesto v Bangladéši. Sme na to hrdí.
NK: You're proud of it?
NK: Ste na to hrdí?
Man: Yes, it is the national image of Bangladesh.
Muž: Áno, je to národný obraz Bangladéša.
NK: Do you know anything about the architect?
NK: Viete niečo o architektovi?
Man: Architect? I've heard about him; he's a top-ranking architect.
Muž: Architektovi? Počul som o ňom. On je [nejasné] architekt.
NK: Well actually I'm here because I'm the architect's son, he was my father.
NK: No vlastne som tu, lebo som architektov syn, bol mojim otcom.
Man: Oh! Dad is Louis Farrakhan?
Muž: Ó! Otec je Luis Farrakhan?
NK: Yeah. No not Louis Farrakhan, Louis Kahn.
NK: Áno. Nie, nie Louis Farrakhan, Louis Kahn.
Man: Louis Kahn, yes!
Muž: Louis Kahn, áno!
(Laughter)
(Smiech)
Man: Your father, is he alive?
Muž: Váš otec je nažive?
NK: No, he's been dead for 25 years.
NK: Nie, je mŕtvy už 25 rokov.
Man: Very pleased to welcome you back.
Veľmi rád vás vítam späť.
NK: Thank you.
NK: Ďakujem.
NK: He never saw it finished, Pop. No, he never saw this.
NK: On to nikdy nevidel dokončené. Nie, nikdy to nevidel.
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: Bolo takmer nemožné, budovať pre krajinu, akou je tá naša. Pred 50-timi rokmi tu okrem ryžových polí nebolo nič a odkedy sme ho sem pozvali, cítil, že má zodpovednosť. Chcel tu byť Mojžišom, dal nám demokraciu. Nie je politikom, ale týmto spôsobom nám dal demokraciu, z ktorej môžeme povstať. Je to preto tak dôležité. Nezaujímalo ho, koľko peňazí táto krajina má alebo či by bol vôbec schopný túto budovu dokončiť, ale akosi ju bol schopný urobiť, vybudovať ju tu. Je to najväčší projekt, aký kedy dal najchudobnejšej krajine na svete.
NK: It cost him his life.
NK: Stálo ho to život.
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: Áno, zaplatil. Zaplatil za to životom, a preto je významný a my si ho budeme pamätať. Bol však tiež človekom, jeho neschopnosť pre rodinný život je nevyhnutná vlastnosť výnimočných ľudí. Myslím si, že jeho syn tomu porozumie a nebude mu mať za zlé, alebo mať pocit zanedbania. On dbal veľmi odlišným spôsobom, no porozumenie si vyžaduje veľa času. V spoločenskom živote bol ako dieťa, vôbec nedospel. Nevedel povedať nie a pretože nevedel povedať nie, máme dnes túto budovu. Porozumieš mu len týmto spôsobom. Neexistuje nijaká iná skratka, nijaký iný spôsob, ako ho naozaj pochopiť. Myslím si ale - dal nám túto budovu a my naňho stále spomíname, pretože nám dal lásku. Možno tebe nemohol dať ten správny druh lásky, ale pre nás, dal tým ľuďom ten správny druh lásky, to je dôležité. Musíš to chápať. On mal obrovské množstvo lásky, on miloval každého. Pretože miloval každého, niekedy nevidel tých najbližších, a to je nevyhnutné u mužov jeho veľkosti.
(Applause)
(Potlesk)