This is very strange for me, because I’m not used to doing this: I usually stand on the other side of the light, and now I'm feeling the pressure I put other people into. And it's hard ... The previous speaker has, I think, really painted a very good background as to the impulse behind my work and what drives me, and my sense of loss, and trying to find the answer to the big questions.
舞台に立つのはあまり慣れていません 普段はライトの向こう側にいますから なるほど 舞台の上ではこんなに緊張するんですね 先ほどの方がこちらで 私の経歴を丁寧に説明して下さったように 映画作りの動機は 私の中にある喪失感で 作品を作りながら その答えを探しているのです
But this, for me, I mean, coming here to do this, feels like -- there’s this sculptor that I like very much, Giacometti, who after many years of living in France -- and learning, you know, studying and working -- he returned home and he was asked, what did you produce? What have you done with so many years of being away? And he sort of, he showed a handful of figurines. And obviously they were, "Is this what you spent years doing? And we expected huge masterpieces!" But what struck me is the understanding that in those little pieces was the culmination of a man’s life, search, thought, everything -- just in a reduced, small version. In a way, I feel like that. I feel like I’m coming home to talk about what I’ve been away doing for 20 years. And I will start with a brief taster of what I’ve been about: a handful of films -- nothing much, two feature films and a handful of short films. So, we’ll go with the first piece.
ここで話をするのは どのような気分かと言うと 私の大好きなジャコメッティという彫刻家がいます フランスに何年も滞在して彫刻を学んだ彼は 故郷へ帰って真っ先に尋ねられたのです 長年外国で何を製作していたのかとね 彼が陶製の小物を見せると 人々からは「長年フランスで学んできたのに― 大したものもつくれないで…」と言われました しかし私は こうした小さな作品の一つ一つが 彼が達成した人生観や考え方の 断片的な表現なのだと思います 今の私も同じです 久しぶりに故郷に帰って 20年間西洋で学んできたことを話す気分です 今日は私がしてきたことを少し紹介するために 2本の長編といくつかの短編から ごく一部を見ていただきます それでは一つ目から
(Video) Woman: "I destroy lives," mum said. I love her, you know. She’s not even my real mum. My real mum and dad dumped me and fucked off back to Nigeria. The devil is in me, Court. Court: Sleep. Woman: Have you ever been? Court: Where? Woman: Nigeria. Court: Never. My mum wanted to, couldn’t afford it. Woman: Wish I could. I have this feeling I’d be happy there. Why does everyone get rid of me? Court: I don't want to get rid of you. Woman: You don't need me. You’re just too blind to see it now.
あたしのせいだって ママは言ってた ママは大好きよ 本当のママじゃないけど 両親はあたしを捨てて ナイジェリアに帰っちゃった あたしが厄介者だからよ コート もう寝なよ 行ったことある? どこに ナイジェリアよ いや 母さんは行きたがってたけど 行けなかった もし行けたら あたし幸せになれるのに みんな あたしが邪魔なのよ 僕はきみを離さない アンタも同じよ そのうち あたしを捨てるんだ
Boy: What do you do all day? Marcus: Read. Boy: Don't you get bored? And how come you ain't got a job anyway? Marcus: I am retired. Boy: So? Marcus: So I've done my bit for Queen and country, now I work for myself. Boy: No, now you sit around like a bum all day. Marcus: Because I do what I like? Boy: Look man, reading don't feed no one. And it particularly don't feed your spliff habit. Marcus: It feeds my mind and my soul. Boy: Arguing with you is a waste of time, Marcus. Marcus: You’re a rapper, am I right? Boy: Yeah. Marcus: A modern day poet. Boy: Yeah, you could say that. Marcus: So what do you talk about? Boy: What's that supposed to mean? Marcus: Simple. What do you rap about? Boy: Reality, man. Marcus: Whose reality? Boy: My fuckin' reality. Marcus: Tell me about your reality. Boy: Racism, oppression, people like me not getting a break in life. Marcus: So what solutions do you offer? I mean, the job of a poet is not just -- Boy: Man, fight the power! Simple: blow the motherfuckers out of the sky. Marcus: With an AK-47? Boy: Man, if I had one, too fuckin' right. Marcus: And how many soldiers have you recruited to fight this war with you? Boy: Oh, Marcus, you know what I mean. Marcus: When a man resorts to profanities, it’s a sure sign of his inability to express himself. Boy: See man, you’re just taking the piss out of me now. Marcus: The Panthers. Boy: Panthers? Ass kickin' guys who were fed up with all that white supremacist, powers-that-be bullshit, and just went in there and kicked everybody's arse. Fuckin’ wicked, man. I saw the movie. Bad! What?
何してるの 本を読んでる 飽きもせずに 仕事はしないの? 退職した それで? これからは自分のために働くのさ ぐうたらしてるだけじゃないか 好きなことをしているだけだ 読書じゃ腹いっぱいにならないし 葉っぱだって買えないだろ 心は満たされるさ あんたじゃ 話になんねぇ お前さんラッパーなんだって ああ 詩人なんだろう そんなもんだな 何を歌ってるんだ 何をって 詞の内容さ 今の状況 誰の? 俺の日常さ ちょっと聞かせてくれ 人種差別や不景気で 活躍の場がないんだよ で 詩人としては どう解決するんだ クズ連中をぶっ飛ばすのさ AK-47でか ああ 手に入ればな それで 仲間は何人ぐらい集まった 本気にすんなよ マトモに言っても聞いてもらえないから 荒っぽいやり方で意思表示するんだろう 俺をおちょくってんのか パンサー党だな パンサー党? 白人至上主義が権力を牛耳っているのが嫌んなって 仲間を煽って権力を手に入れた連中か 映画も観たけど 最低だったぜ
Director 1: I saw his last film. Épuise, right? Woman 1: Yes. D1: Not to make a bad joke, but it was really épuisé. Epuisé -- tired, exhausted, fed up. Director 2: Can you not shut up? Now, you talk straight to me, what’s wrong with my films? Let’s go. W1: They suck. Woman 2: They suck? What about yours? What, what, what, what about, what? What do you think about your movie? D1: My movies, they are OK, fine. They are better than making documentaries no one ever sees. What the fuck are you talking about? Did you ever move your fuckin' ass from Hollywood to go and film something real? You make people fuckin' sleep. Dream about bullshit.
最新作を観たよ 『Epuise』だろ ええ 悪くはないが 文字通りの作品だったな 退屈で うんざりするような ひどい映画だ その辺にしておけよ お前は 俺の作品をどう思う 言ってみろ くだらないわ お前のはどうなんだい な…何ですって あなたは自分の作品をどう思っているの 「ドキュメンタリー」よりは 俺の作品の方がよっぽどいい よくそんなことが言えるわね いいかげん ハリウッドから出て 世の中の真実を撮ってきたらどう あんたの作品じゃみんな くだらなくて寝ちゃうわよ
(Applause)
(拍手)
Newton Aduaka: Thank you. The first clip, really, is totally trying to capture what cinema is for me, and where I'm coming from in terms of cinema. The first piece was, really, there's a young woman talking about Nigeria, that she has a feeling she'll be happy there. These are the sentiments of someone that's been away from home. And that was something that I went through, you know, and I'm still going through. I've not been home for quite a while, for about five years now. I've been away 20 years in total. And so it’s really -- it's really how suddenly, you know, this was made in 1997, which is the time of Abacha -- the military dictatorship, the worst part of Nigerian history, this post-colonial history. So, for this girl to have these dreams is simply how we preserve a sense of what home is. How -- and it's sort of, perhaps romantic, but I think beautiful, because you just need something to hold on to, especially in a society where you feel alienated.
ありがとうございます 最初の作品は 私にとって映画とは何かということと 映画を作るときの私の立場を描いています ナイジェリアに行って幸せな生活をしたがる 作品中の少女の気持ちは 故郷を離れている人には共感できるでしょう 私も彼女と同じ郷愁を感じています 最後に里帰りしてから5年もたっています 最初に外国へ来て20数年 その後 故郷では 1997年に突然軍部が政権を握り アバチャ将軍の独裁が始まりました 植民地時代以降で最悪の時代です 少女が抱く夢は 誰もが感じる故郷への思いなのです 故郷の現実はもっと厳しいかもしれませんが それでも 孤独を感じる状況にいる人には 何か心のよりどころが必要なのです
Which takes us to the next piece, where the young man talks about lack of opportunity: living as a black person in Europe, the glass ceiling that we all know about, that we all talk about, and his reality. Again, this was my -- this was me talking about -- this was, again, the time of multiculturalism in the United Kingdom, and there was this buzzword -- and it was trying to say, what exactly does this multiculturalism mean in the real lives of people? And what would a child -- what does a child like Jamie -- the young boy -- think, I mean, with all this anger that's built up inside of him? What happens with that? What, of course, happens with that is violence, which we see when we talk about the ghettos and we talk about, you know, South Central L.A. and this kind of stuff, and which eventually, when channeled, becomes, you know, evolves and manifests itself as riots -- like the one in France two years ago, where I live, which shocked everybody, because everyone thought, "Oh well, France is a liberal society." But I lived in England for 18 years. I've lived in France for about four, and I feel actually thrown back 20 years, living in France. And then, the third piece. The third piece for me is the question: What is cinema to you? What do you do with cinema? There's a young director, Hollywood director, with his friends -- fellow filmmakers -- talking about what cinema means. I suppose that will take me to my last piece -- what cinema means for me. My life started as a -- I started life in 1966, a few months before the Biafran, which lasted for three years and it was three years of war. So that whole thing, that whole childhood echoes and takes me into the next piece.
次の作品の若い男性は ヨーロッパで黒人にはチャンスがないと言っています いわゆるガラスの天井によって 活躍の場がないと思っている これも私の気持ちです 多文化時代を迎えた英国で 普通の人たちが感じている 多文化時代の意味を提起しようとしたのです ジェイミーという この作品に出てくる少年は 心の中の苛立ちを抑えきれず 我慢も限界に近い そのはけ口に暴力を使うのは 私たちがよく見聞きする L.A.のゲットーなどと同じです そして こうした暴力が 最終的には暴動に発展するのです 2年前フランスで暴動が起きたときは 自由国家フランスに 幻滅しました 18年英国にいて 4年前にフランスに来たのに 故郷にいたころを思い出しました 最後の作品は私自身への問いかけです 自分は映画で何がしたいのか ここではハリウッドの若手映画監督が仲間と 映画談義をしています 最新作は私にとっての 映画の意味です 私は1966年の生まれです 3年間続く内戦が始まる 数ヶ月前でした こうした状況が 私の子供時代や次の作品に反映されています
(Video) Voice: Onicha, off to school with your brother. Onicha: Yes, mama. Commander: Soldiers, you are going to fight a battle, so you must get ready and willing to die. You must get -- ? Child Soldiers: Ready and willing to die. C: Success, the change is only coming through the barrel of the gun. CS: The barrel of the gun! C: This is the gun. CS: This is the gun. C: This is an AK-47 rifle. This is your life. This is your life. This is ... this is ... this is your life. Ezra: They give us the special drugs. We call it bubbles. Amphetamines. Soldiers: Rain come, sun come, soldier man dey go. I say rain come, sun come, soldier man dey go. We went from one village to another -- three villages. I don’t remember how we got there. Witness: We walked and walked for two days. We didn't eat. There was no food, just little rice. Without food -- I was sick. The injection made us not to have mind. God will forgive us. He knows we did not know. We did not know!
弟と学校へ行きなさい はい ママ いいか お前らは兵士になって戦うんだ 死ぬ覚悟はできているな いつでも 命をささげます 勝つためには 銃がたくさん必要だ たくさんの銃を これが銃だ これが銃 このAK-47ライフルで命を守る これで命を守る これは…お前の…命綱だ 僕達は薬を飲まされました 覚せい剤だな 雨が降っても 暑くても 兵士は進む どこまでも 私達はいくつかの村を 連れ回されました 2日間何も食べずに 歩き続けました 少しのお米を食べただけで とても辛かった 注射されて どうかしていました 神は許してくださる 私達は何も知らなかったのです
Committee Chairman: Do you remember January 6th, 1999? Ezra: I don’t remember.
1999年1月6日のことは 覚えていません
Various Voices: You will die! You will die! (Screaming) Onicha: Ezra! (Ezra: Onicha! Onicha!) Various Voices: ♫ We don't need no more trouble ♫ ♫ No more trouble ♫ They killed my mother. The Mende sons of bastards. (Shouting) Who is she? Me. Why you giving these to me? So you can stop staring at me. My story is a little bit complicated. I’m interested. Mariam is pregnant. You know what you are? A crocodile. Big mouth. Short legs. In front of Rufus you are Ezra the coward. He’s not taking care of his troops. Troop, pay your last honor. Salute. Open your eyes, Ezra. A blind man can see that the diamonds end up in his pocket. ♫ We don't need no more trouble ♫ Get that idiot out! I take you are preparing a major attack? This must be the mine. Your girl is here. Well done, well done. That is what you are here for, no? You are planning to go back to fight are you? ♫ We don't need no more trouble ♫ ♫ No more trouble ♫ ♫ We don't need no more trouble ♫ ♫ No more trouble. ♫ Wake up! Everybody wake up. Road block! ♫ We don't need no more ... ♫
エズラ! オニチャ! ♫もう戦争はまっぴらだ♫ ♫これ以上の無駄死にはたくさんだ♫ 母さんを殺したな このクズ野郎 (叫び声) この写真は 私よ どうして 私をじっと見てた 話せば長くなるわ 聞かせてよ 子供ができた アンタって ワニと同じよ 口ばっかりで グズグズしてて 上官に逆らえない臆病者 アイツは部下を捨てたのよ みんな 別れのあいさつを 目を覚まして エズラ ダイヤモンドはアイツの懐に入っているの ♫もう戦いはたくさんだ♫ どけバカ野郎 これから攻撃ですか これは私のものだ 女はここだ よくやったぞ 協力に感謝する 戻って戦うんでしょう ♫争いごとはもうたくさんだ♫ 起きろ 道路が封鎖されている ♫これからは戦いはやめて♫ ♫静かに過したい♫ ♫平和な世の中で 生きるんだ♫ ♫こんな事はもう...♫
Committee Chairman: We hope that, with your help and the help of others, that this commission will go a long way towards understanding the causes of the rebel war. More than that, begin a healing process and finally to -- as an act of closure to a terrible period in this country’s history. The beginning of hope. Mr. Ezra Gelehun, please stand. State your name and age for the commission. Ezra: My name is Ezra Gelehun. I am 15 or 16. I don’t remember. Ask my sister, she is the witch, she knows everything. (Sister: 16.) CC: Mr. Gelehun, I’d like to remind you you’re not on trial here for any crimes you committed. E: We were fighting for our freedom. If killing in a war is a crime, then you have to charge every soldier in the world. War is a crime, yes, but I did not start it. You too are a retired General, not so? CC: Yes, correct. E: So you too must stand trial then. Our government was corrupt. Lack of education was their way to control power. If I may ask, do you pay for school in your country? CC: No, we don’t. E: You are richer than us. But we pay for school. Your country talks about democracy, but you support corrupt governments like my own. Why? Because you want our diamond. Ask if anyone in this room have ever seen real diamond before? No. CC: Mr. Gelehun, I'd like to remind you, you're not on trial here today. You are not on trial. E: Then let me go. CC: I can't do that, son. E: So you are a liar.
これから皆さんの協力の下で 当委員会で反政府活動の真実を明らかにし 一連の手続きを経て この国の歴史的暗部に 終止符を打とうと思います それでは エズラ ゲラーさん ご起立を お名前と年齢を エズラ ゲラー たぶん 15か16だと思います 姉に聞いて下さい 彼女なら何でもわかる 16歳です ゲラーさん ここであなたの罪を 裁く気はありません 僕達は自由になるために戦った 戦争で人を殺すのが罪なら 世界中の兵士はみんな罪人だ 戦争は犯罪だけど 始めたのは僕じゃない あなたは退役将軍でしたね ええ そうです ならば あなたも同罪だ 政府は腐敗しきっていた 権力維持のために 教育もおざなりだった あなたの国で学費は払いますか いいえ 払いません 僕らは貧乏なのに 学費を払わないと勉強できない あなたの国は民主主義国家なのに 僕の国の政府の腐敗を支えているんだ そんなにダイヤモンドが欲しいのか この中で 実物のダイヤを見た人なんて いやしない ゲラーさん これはあなたの裁判ではありません ですから では出て行きます それはだめです やはりあなたは噓つきだ
(Applause)
(拍手)
NA: Thank you. Just very quickly to say that my point really here, is that while we’re making all these huge advancements, what we're doing, which for me, you know, I think we should -- Africa should move forward, but we should remember, so we do not go back here again. Thank you.
手短に要点をご説明します この作品の製作を通して エズラと同時に私も成長しました アフリカが前進するために 過去を記録し 繰り返さないことが必要です ありがとう
Emeka Okafor: Thank you, Newton.
ありがとうございます
(Applause)
(拍手)
One of the themes that comes through very strongly in the piece we just watched is this sense of the psychological trauma of the young that have to play this role of being child soldiers. And considering where you are coming from, and when we consider the extent to which it’s not taken as seriously as it should be, what would you have to say about that?
あなたの作品の中で印象深かったのが 子ども兵にならざるを得ない若者たちが 抱えているトラウマです ナイジェリア出身である貴方から見て このような事実が それほど重大視されていないのは どのようにお感じですか
NA: In the process of my research, I actually spent a bit of time in Sierra Leone researching this. And I remember I met a lot of child soldiers -- ex-combatants, as they like to be called. I met psychosocial workers who worked with them. I met psychiatrists who spent time with them, aid workers, NGOs, the whole lot. But I remember on the flight back on my last trip, I remember breaking down in tears and thinking to myself, if any kid in the West, in the western world, went through a day of what any of those kids have gone through, they will be in therapy for the rest of their natural lives. So for me, the thought that we have all these children -- it’s a generation, we have a whole generation of children -- who have been put through so much psychological trauma or damage, and Africa has to live with that. But I’m just saying to factor that in, factor that in with all this great advancement, all this pronouncement of great achievement. That’s really my thinking.
リサーチ段階で 実際にシエラ レオネに滞在し たくさんの子ども兵に会いました 「元闘士」と言っていました 彼らのそばにいる 心理的なケアをする人たち 慈善活動家なども取材しました 帰りの飛行機の中で考えて 思わず泣いてしまったのですが もしも「西洋社会」にいる子どもが 一日でもアフリカの子どもの体験をしたら 一生 心理的治療が必要になるでしょう 私達はこうした子どもを抱えているのです 一世代分の子どもが 心に何らかの大きな傷を抱えながら アフリカで生きています それでも アフリカは前進し 発展を遂げると 私は思っています
EO: Well, we thank you again for coming to the TED stage. That was a very moving piece.
今日は来て頂いてありがとうございました とても感動しました
NA: Thank you.
どうも
EO: Thank you.
こちらこそ
(Applause)
(拍手)