So, I was just asked to go and shoot this film called "Elizabeth." And we're all talking about this great English icon and saying, "She's a fantastic woman, she does everything. How are we going to introduce her?" So we went around the table with the studio and the producers and the writer, and they came to me and said, "Shekhar, what do you think?"
Saya diminta syuting film "Elizabeth," sambil membahas ikon Inggris agung ini "Ia wanita fantastis, ia serba bisa. Bagaimana kita akan mengenalkannya?" Kami mengunjungi studio, produser, dan penulisnya, ...mereka bilang, "Shekhar, menurutmu bagaimana?"
And I said, "I think she's dancing."
Saya bilang, "Dia sedang menari."
And I could see everybody looked at me, somebody said, "Bollywood."
Saya lihat semuanya memandang saya, ...seseorang bilang, "Bollywood."
The other said, "How much did we hire him for?"
Lainnya bilang, "Dia dibayar berapa sih?"
And the third said, "Let's find another director."
Orang ketiga bilang, "Mari cari sutradara lain."
I thought I had better change. So we had a lot of discussion on how to introduce Elizabeth, and I said, "OK, maybe I am too Bollywood. Maybe Elizabeth, this great icon, dancing? What are you talking about?" So I rethought the whole thing, and then we all came to a consensus. And here was the introduction of this great British icon called "Elizabeth."
Saya pikir saya harus berubah. Kami banyak diskusi tentang pengenalan Elizabeth. Saya bilang, "Baik, mungkin saya terlalu Bollywood. Mungkinkah ikon Elizabeth ini menari? Maksudmu apa?" Jadi saya olah kembali ide ini, ...dan kami sepakat. Ini cara kami memperkenalkan ...ikon Inggris agung bernama "Elizabeth."
Leicester: May I join you, my lady?
Leicester: Bolehkah saya bergabung, Putri?
Elizabeth: If it please you, sir. (Music)
Elizabeth: Jika Anda mau, Tuan. (Musik)
Shekhar Kapur: So she was dancing. So how many people who saw the film did not get that here was a woman in love, that she was completely innocent and saw great joy in her life, and she was youthful? And how many of you did not get that? That's the power of visual storytelling, that's the power of dance, that's the power of music: the power of not knowing.
Shekhar Kapur: Jadi ia menari. Berapa orang yang melihat film ini tidak mengerti... ...bahwa wanita ini jatuh cinta... ...bahwa dia sangat polos... ...dan menikmati kebahagiaan dalam kemudaannya? Berapa orang yang tak menangkap itu? Itu kekuatan dongeng visual. Itu kekuatan dari tarian dan musik. Kekuatan dari ketidaktahuan.
When I go out to direct a film, every day we prepare too much, we think too much. Knowledge becomes a weight upon wisdom. You know, simple words lost in the quicksand of experience. So I come up, and I say, "What am I going to do today?" I'm not going to do what I planned to do, and I put myself into absolute panic. It's my one way of getting rid of my mind, getting rid of this mind that says, "Hey, you know what you're doing. You know exactly what you're doing. You're a director, you've done it for years." So I've got to get there and be in complete panic. It's a symbolic gesture. I tear up the script, I go and I panic myself, I get scared. I'm doing it right now; you can watch me. I'm getting nervous, I don't know what to say, I don't know what I'm doing, I don't want to go there.
Saat menyutradarai film ini, ...setiap hari kami terlalu banyak bersiap dan berpikir. Pengetahuan menjadi beban bukan kebijakan. Kata-kata sederhana menghilang seiring bertambahnya pengalaman. Jadi saya pikir, "Apa yang akan saya lakukan hari ini? Saya tidak akan melakukan rencana saya, ...lalu membuat diri sendiri sangat panik. Itu cara saya mengosongkan pikiran. Mengosongkan pikiran yang berkata... "Kau tahu betul sedang apa. Kau seorang sutradara selama bertahun-tahun." Saya harus begitu, dan benar-benar panik. Sebagai sikap simbolis, saya robek naskah. Membuat diri sendiri panik. Saya sedang panik saat ini. Saya semakin gugup. Tidak tahu mau bilang apa, melakukan apa.
And as I go there, of course, my A.D. says, "You know what you're going to do, sir." I say, "Of course I do."
Saya tidak mau ke sana. Sekalinya masuk, A.D. saya berkata, "Anda tahu mau apa, Tuan?" Saya berkata, "Tentu saja."
And the studio executives, they would say, "Hey, look at Shekhar. He's so prepared." And inside I've just been listening to Nusrat Fateh Ali Khan because he's chaotic. I'm allowing myself to go into chaos because out of chaos, I'm hoping some moments of truth will come. All preparation is preparation. I don't even know if it's honest. I don't even know if it's truthful. The truth of it all comes on the moment, organically, and if you get five great moments of great, organic stuff in your storytelling, in your film, your film, audiences will get it. So I'm looking for those moments, and I'm standing there and saying, "I don't know what to say."
Para eksekutif studio akan bilang, "Lihat Shekhar. Dia sangat siap." Di dalam, saya baru mendengarkan Nusrat Fateh Ali Khan... ...karena ia kisruh. Saya membuat diri saya kisruh. Sebab jika tidak, saya harap akan ada kebenaran. Persiapan adalah persiapan. Saya tak tahu apakah itu jujur. Saya bahkan tidak tahu apakah itu benar. Kebenaran datang pada waktunya secara alami, ...dan jika Anda mengalami lima momen hebat... ...yang bersifat alami... ...dalam cerita Anda, dalam film... ...maka penonton Anda akan mengerti. Saya mencari momen itu, berdiri di sana... ...berkata, "Saya kehabisan kata-kata."
So, ultimately, everybody's looking at you, 200 people at seven in the morning who got there at quarter to seven, and you arrived at seven, and everybody's saying, "Hey. What's the first thing? What's going to happen?" And you put yourself into a state of panic where you don't know, and so you don't know. And so, because you don't know, you're praying to the universe because you're praying to the universe that something -- I'm going to try and access the universe the way Einstein -- say a prayer -- accessed his equations, the same source. I'm looking for the same source because creativity comes from absolutely the same source that you meditate somewhere outside yourself, outside the universe. You're looking for something that comes and hits you. Until that hits you, you're not going to do the first shot. So what do you do?
Akhirnya semua orang memandangimu, ...dua ratus orang, pukul 07:00... ...yang tiba seperempat jam sebelumnya Anda... dan semua orang bilang, "Apa yang pertama? Apa yang akan terjadi?" Anda menjadi panik... ...saat Anda tidak tahu, maka tidak tahulah Anda. Dan karena ketidaktahuan... ...Anda berdoa pada semesta, dan karena itu... ...sesuatu itu -- saya akan mencoba mengakses semesta... ...dengan cara Einstein -- berdoa -- ...mengakses persamaannya... ...dari sumber yang sama. Saya mencari sumber yang sama... ...karena kreatifitas datang dari sumber yang sama... ...dengan bermeditasi di luar diri sendiri... ...di luar semesta. Mencari sesuatu yang datang menabrak. Sampai tabrakan itu terjadi, tidak akan ada syuting. Jadi bagaimana?
So Cate says, "Shekhar, what do you want me to do?"
Kata Cate, "Shekhar, saya harus bagaimana?
And I say, "Cate, what do you want to do?" (Laughter) "You're a great actor, and I like to give to my actors -- why don't you show me what you want to do?" (Laughter) What am I doing? I'm trying to buy time. I'm trying to buy time.
Saya menjawab, "Cate, Anda maunya apa?" (Tawa) "Anda aktor hebat, dan saya senang membebaskan aktor saya. Lakukan apa yang Anda ingin lakukan." (Tawa) Apa yang saya lakukan? Mengulur waktu. Berusaha mengulur waktu.
So the first thing about storytelling that I learned, and I follow all the time is: Panic. Panic is the great access of creativity because that's the only way to get rid of your mind. Get rid of your mind. Get out of it, get it out. And let's go to the universe because there's something out there that is more truthful than your mind, that is more truthful than your universe. [unclear], you said that yesterday. I'm just repeating it because that's what I follow constantly to find the shunyata somewhere, the emptiness. Out of the emptiness comes a moment of creativity. So that's what I do.
Jadi hal pertama yang saya pelajari dari mendongeng, ...dan yang saya lakukan setiap kali, adalah panik. Kepanikan adalah akses menuju kreatifitas... ...karena itulah satu-satunya cara mengosongkan pikiran. Kosongkan pikiranmu. Keluarlah. Keluarkan. Mari pulang ke semesta... ...karena ada sesuatu di sana yang lebih benar daripada pikiran, yang lebih benar dari semestamu. [tak jelas], Anda mengatakannya kemarin. Saya hanya mengulangnya karena itu yang selalu saya ikuti. mencari kesunyatan, kekosongan. Dari kekosongan datangnya momen kreatifitas. Itu cara saya.
When I was a kid -- I was about eight years old. You remember how India was. There was no pollution. In Delhi, we used to live -- we used to call it a chhat or the khota. Khota's now become a bad word. It means their terrace -- and we used to sleep out at night. At school I was being just taught about physics, and I was told that if there is something that exists, then it is measurable. If it is not measurable, it does not exist. And at night I would lie out, looking at the unpolluted sky, as Delhi used to be at that time when I was a kid, and I used to stare at the universe and say, "How far does this universe go?"
Waktu masih anak-anak -- sekitar umur delapan tahun. Ingat seperti apa India saat itu. Tak ada polusi. Di Delhi, di mana kami tinggal -- kami menyebutnya chata atau khota. Khota sekarang berkonotasi buruk. Artinya "teras mereka" -- dan kami dulu tidur di luar. Di sekolah saya hanya diajarkan fisika, dan diberitahu bahwa jika ada sesuatu yang eksis maka dapat diukur. Jika tak dapat diukur, maka ia tak ada. Pada malam hari saya rebah di bawah langit jernih sebagaimana Delhi dulu, semasa kanak-kanak saya, melototi semesta dan bilang, "Sebesar apakah semesta?"
My father was a doctor. And I would think, "Daddy, how far does the universe go?"
Ayah saya seorang dokter. Saya akan berpikir, "Ayah, sebesar apakah semesta?"
And he said, "Son, it goes on forever."
Katanya, "Nak, ia selamanya."
So I said, "Please measure forever because in school they're teaching me that if I cannot measure it, it does not exist. It doesn't come into my frame of reference." So, how far does eternity go? What does forever mean? And I would lie there crying at night because my imagination could not touch creativity.
Saya bilang, "Ukurlah selamanya karena di sekolah mereka mengajari bahwa sesuatu yang tak terukur, tak ada. Bagiku itu tak masuk akal." Jadi seluas apakah keabadian? Apa artinya selamanya? Pada malam hari saya akan menangis karena imajinasi saya tak mampu menyentuh kreatifitas.
So what did I do? At that time, at the tender age of seven, I created a story. What was my story? And I don't know why, but I remember the story. There was a woodcutter who's about to take his ax and chop a piece of wood, and the whole galaxy is one atom of that ax. And when that ax hits that piece of wood, that's when everything will destroy and the Big Bang will happen again. But all before that there was a woodcutter. And then when I would run out of that story, I would imagine that woodcutter's universe is one atom in the ax of another woodcutter. So every time, I could tell my story again and again and get over this problem, and so I got over the problem.
Apa yang saya lakukan? Pada usia tujuh tahun, saya bercerita. Apa cerita saya? Entah mengapa, tapi sayang ingat. Ada seorang tukang kayu yang menangkat kapaknya, hendak membelah kayu, seluruh gugusan adalah satu atom kapak itu. Saat kapak itu membelah kayu, adalah saatnya semua akan hancur dan Big Bang akan terjadi lagi. Tapi sebelum itu ada sang tukang kayu. Dan saya akan kehabisa cerita, membayangkan semesta si tukang kayu berupa satu atom dalam kapak tukang kayu lainnya. Setiap kali, saya akan mengulang cerita itu lagi dan lagi dan menyelesaikan masalah ini, selesailah masalah ini.
How did I do it? Tell a story. So what is a story? A story is our -- all of us -- we are the stories we tell ourselves. In this universe, and this existence, where we live with this duality of whether we exist or not and who are we, the stories we tell ourselves are the stories that define the potentialities of our existence. We are the stories we tell ourselves. So that's as wide as we look at stories. A story is the relationship that you develop between who you are, or who you potentially are, and the infinite world, and that's our mythology.
Bagaimana caranya? Dengang dongeng? Jadi apakah sebuah dongeng? Dongeng, adalah kita semua. Kita adalah dongeng yang kita ulangi. Semesta ini, keberadaan ini, dimana kita hidup dengan dualitas ini antara ada dan tiada dan siapa diri kita, cerita-cerita yang kita tuturkan adalah penentu potensi keberadaan kita. Kita adalah dongeng yang kita tuturkan. Seluas pandangan kita terhadap dongeng. Cerita adalah sebuah pertalian yang Anda kembangkan antara diri Anda sekarang, atau diri yang berpotensi menjadi, dengan dunia tak terbatas, dan itulah mitologi kita.
We tell our stories, and a person without a story does not exist. So Einstein told a story and followed his stories and came up with theories and came up with theories and then came up with his equations. Alexander had a story that his mother used to tell him, and he went out to conquer the world. We all, everybody, has a story that they follow. We tell ourselves stories. So, I will go further, and I say, "I tell a story, and therefore I exist." I exist because there are stories, and if there are no stories, we don't exist. We create stories to define our existence. If we do not create the stories, we probably go mad. I don't know; I'm not sure, but that's what I've done all the time.
Kita bercerita, karena seseorang tanpa cerita tak eksis. Einstein mendongeng lalu mengikuti dongengnya sampai menjadi teori dan mengikuti teorinya sampai menjadi persamaan. Alexander pernah memiliki dongeng yang dituturkan ibunya, yang mengantarnya menguasai dunia. Kita semua mempunyai cerita untuk diikuti. Kita mendongeng pada diri sendiri. Jadi boleh dibilang, Saya bercerita, maka saya ada. Saya ada karena ada cerita, dan jika tak ada cerita, kita tak berada. Kita bercerita untuk menjelaskan keberadaan kita. Tanpa cerita, mungkin kita akan gila. Tak tahu. Saya tak yakin, tapi ini yang saya lakukan selama ini.
Now, a film. A film tells a story. I often wonder when I make a film -- I'm thinking of making a film of the Buddha -- and I often wonder: If Buddha had all the elements that are given to a director -- if he had music, if he had visuals, if he had a video camera -- would we get Buddhism better? But that puts some kind of burden on me. I have to tell a story in a much more elaborate way, but I have the potential. It's called subtext. When I first went to Hollywood, they said -- I used to talk about subtext, and my agent came to me, "Would you kindly not talk about subtext?" And I said, "Why?" He said, "Because nobody is going to give you a film if you talk about subtext. Just talk about plot and say how wonderful you'll shoot the film, what the visuals will be."
Sekarang, sebuah film. Film menuturkan cerita. Saya sering bertanya-tanya saat membuat film -- misalnya film tentang Buddha -- Jika Buddha memiliki segalanya yang diberikan pada sutradara, jika Ia memiliki musik, visual, dan kamera video, apakah kita akan lebih mengerti Buddhisme? Tapi itu memberatkan saya. Saya harus bercerita dengan cara yang lebih terperinci, tapi saya memiliki potensi. Yang disebut makna terselubung. Saat pertama kali ke Hollywood, mereka bilang -- saya selalu membicarakan makna terselubung, dan agen saya bilang "Bisa tidak Anda tak membahas makna terselubung?" Saya bilang, "Kenapa?". Katanya, "Karena tidak ada yang akan memberimu film jika Anda membahas makna terselubung. Bahas saja plot dan bilang betapa menyenangkan untuk membuat film, apa saja visual yang tampak."
So when I look at a film, here's what we look for: We look for a story on the plot level, then we look for a story on the psychological level, then we look for a story on the political level, then we look at a story on a mythological level. And I look for stories on each level. Now, it is not necessary that these stories agree with each other. What is wonderful is, at many times, the stories will contradict with each other. So when I work with Rahman who's a great musician, I often tell him, "Don't follow what the script already says. Find that which is not. Find the truth for yourself, and when you find the truth for yourself, there will be a truth in it, but it may contradict the plot, but don't worry about it."
Jadi saat menonton film, ini yang kita cari, cerita di level plot, lalu mencari cerita di level psikologis, lalu mencari cerita di level politik, lalu mencari cerita di level mitologi. Saya mencari cerita pada setiap level. Tidak wajib bagi semua cerita untuk saling sepakat. Yang indah adalah seringkali, cerita-cerita itu akan saling berlawanan. Saya akan bekerjasama dengan Rahman, musikus hebat, dan sering bilang padanya, "Jangan ikuti apa yang sudah diceritakan skrip. Ceritakan apa yang belum diceritakan. Temukan kebenaran dalam dirimu, karena saat kebenaran itu kau temukan, meski mungkin bertentangan dengan plot, jangan khawatirkan itu."
So, the sequel to "Elizabeth," "Golden Age." When I made the sequel to "Elizabeth," here was a story that the writer was telling: A woman who was threatened by Philip II and was going to war, and was going to war, fell in love with Walter Raleigh. Because she fell in love with Walter Raleigh, she was giving up the reasons she was a queen, and then Walter Raleigh fell in love with her lady in waiting, and she had to decide whether she was a queen going to war or she wanted...
Sekuelnya "Elizabeth", "Masa Keemasan." Waktu membuat sekuel "Elizabeth," ada cerita yang dituturkan penulis. Seorang wanita terancam oleh Philip II dan hampir masuk perang, hampir berperang, jatuh cinta dengan Walter Raleigh. Karena dia jatuh cinta dengan Walter Raleigh, dia mulai melupakan alasannya menjadi ratu. Lalu Walter Raleigh jatuh cinta dengan pelayan ratu, dan Elizabeth harus memutuskan apa akan menjadi ratu berperang apa mau...
Here's the story I was telling: The gods up there, there were two people. There was Philip II, who was divine because he was always praying, and there was Elizabeth, who was divine, but not quite divine because she thought she was divine, but the blood of being mortal flowed in her. But the divine one was unjust, so the gods said, "OK, what we need to do is help the just one." And so they helped the just one. And what they did was, they sent Walter Raleigh down to physically separate her mortal self from her spirit self. And the mortal self was the girl that Walter Raleigh was sent, and gradually he separated her so she was free to be divine. And the two divine people fought, and the gods were on the side of divinity.
Ini cerita yang saya tuturkan. Dewa di atas sana. Ada dua orang. Ada Philip II, yang kedewataan karena selalu berdoa, ada Elizabeth, yang juga kedewataan, tapi tak sepenuhnya karena meski mengira dirinya kedewataan, darah kefanaan mengalir dalam tubuhnya. Karena yang kedewataan tak adil, maka para Dewa bilang, "Okay, apa yang harus kita lakukan adalah membantu yang adil." Jadi yang adil dibantu. Yang mereka lakukan adalah mengirim Walter Raleigh untuk memisahkan secara fisik diri Elizabeth yang fana dengan yang abadi. Dirinya yang fana adalah seorang gadis yang dikirim ke Walter Raleigh dan perlahan memisahkannya agar Elizabeth bebas menjadi Dewi. Dan kedua manusia dewa bertempur dan para Dewa mendukung ketuhanan.
Of course, all the British press got really upset. They said, "We won the Armada."
Tentunya pers Inggris marah. Kata mereka, "Kami memenangkan Armada."
But I said, "But the storm won the Armada. The gods sent the storm."
Kata saya, "Tapi badailah yang memenangkan Armada." Para dewa yang mengirimkan badai."
So what was I doing? I was trying to find a mythic reason to make the film. Of course, when I asked Cate Blanchett, I said, "What's the film about?" She said, "The film's about a woman coming to terms with growing older." Psychological. The writer said "It's about history, plot." I said "It's about mythology, the gods."
Apa yang saya lakukan? Berusaha menemukan alasan mistis untuk membuat film ini. Waktu saya tanyakan pada Cate Blanchett, "Tentang apakah film ini?" Dia bilang, "Tentang seorang wanita yang dalam proses berdamai dengan umurnya." Psikologis. Penulisnya bilang ini cerita sejarah, plot. Saya bilang ini tentang mitologi, para dewa.
So let me show you a film -- a piece from that film -- and how a camera also -- so this is a scene, where in my mind, she was at the depths of mortality. She was discovering what mortality actually means, and if she is at the depths of mortality, what really happens. And she's recognizing the dangers of mortality and why she should break away from mortality. Remember, in the film, to me, both her and her lady in waiting were parts of the same body, one the mortal self and one the spirit self.
Mari saya tunjukkan sebuah film -- sepotong dari film itu -- dan bagaimana sebuah kamera juga -- dalam cuplikan ini, di kepala saya, Elizabeth berada di dasar kefanaan. Ia tengah menemukan arti sebenarnya kefanaan, bahwa ia memang sedang di dasarnya, apa yang sebenarnya terjadi. Dan ia mulai mengenali bahaya kefanaan dan alasan mengapa ia harus melepaskan diri darinya. Ingat, bagi saya di film ini baik Elizabeth maupun pelayannya adalah satu bagian dari wujud yang sama, yang satu diri yang fana satunya lagi abadi.
So can we have that second?
Bagaimana mencapai yang kedua?
(Music)
(Musik)
Elizabeth: Bess? Bess? Bess Throckmorton?
Elizabeth: Bess? Bess? Bess Throckmorton?
Bess: Here, my lady.
Bess: Hamba, Paduka.
Elizabeth: Tell me, is it true? Are you with child? Are you with child?
Elizabeth: Benarkah? Apakah kau hamil? Apakah kau hamil?
Bess: Yes, my lady.
Bess: Ya, Paduka.
Elizabeth: Traitorous. You dare to keep secrets from me? You ask my permission before you rut, before you breed. My bitches wear my collars. Do you hear me? Do you hear me?
Elizabeth: Pengkhianat. Kau berani menyimpan rahasia dariku? Minta dulu izinku sebelum kawin, sebelum beranak. Semua anjingku memakai kalung. Kau dengar? Kau dengar?
Walsingham: Majesty. Please, dignity. Mercy.
Walsingham: Paduka. Kumohon, kehormatan. Kasihan.
Elizabeth: This is no time for mercy, Walsingham. You go to your traitor brother and leave me to my business. Is it his? Tell me. Say it. Is the child his? Is it his?
Elizabeth: Ini bukan waktunya untuk kasihan, Walsingham. Pergi sana urusi saudaramu yang pengkhianat dan biarkan aku mengurus urusanku sendiri. Miliknya? Katakan. Anaknya kah?
Bess: Yes. My lady, it is my husband's child. Elizabeth: Bitch! (Cries)
Bess: Ya. Paduka, ini adalah anak suami hamba. Elizabeth: Jalang! (Teriak)
Raleigh: Majesty. This is not the queen I love and serve.
Raleigh: Paduka. Ini bukan ratu yang hamba cintai dan layani.
Elizabeth: This man has seduced a ward of the queen, and she has married without royal consent. These offenses are punishable by law. Arrest him. Go. You no longer have the queen's protection.
Elizabeth: Orang ini merayu pelayan ratu, dan perempuan ini kawin tanpa izin kerajaan. Pelanggaran ini harus dihukum. Tangkap dia. Pergi. Kalian tak lagi di bawah lindungan ratu.
Bess: As you wish, Majesty.
Bess: Baik, Paduka.
Elizabeth: Get out! Get out! Get out! Get out.
Elizabeth: Keluar! Keluar! Keluar! Keluar.
(Music)
(Musik)
Shekhar Kapur: So, what am I trying to do here? Elizabeth has realized, and she's coming face-to-face with her own sense of jealousy, her own sense of mortality. What am I doing with the architecture? The architecture is telling a story. The architecture is telling a story about how, even though she's the most powerful woman in the world at that time, there is the other, the architecture's bigger. The stone is bigger than her because stone is an organic. It'll survive her. So it's telling you, to me, stone is part of her destiny. Not only that, why is the camera looking down? The camera's looking down at her because she's in the well. She's in the absolute well of her own sense of being mortal. That's where she has to pull herself out from the depths of mortality, come in, release her spirit. And that's the moment where, in my mind, both Elizabeth and Bess are the same person. But that's the moment she's surgically removing herself from that. So the film is operating on many many levels in that scene. And how we tell stories visually, with music, with actors, and at each level it's a different sense and sometimes contradictory to each other. So how do I start all this? What's the process of telling a story?
Shekhar Kapur: Apa yang saya lakukan? Elizabeth menyadari, ia berhadapan langsung dengan kecemburuannya, kefanaannya sendiri. Apa yang saya lakukan dengan arsitektur? Arsitektur menceritakan sesuatu. Arsitektur menceritakan tentang bagaimana, meskipun ini adalah wanita paling berkuasa di dunia saat itu, ada yang lain, arsitektur yang lebih besar. Batu yang lebih besar darinya karena batu anaorganik. Ia akan hidup lebih lama. Ia menceritakan, batu adalah bagian dari takdirnya. Mengapa kamera menyorot ke bawah? Kamera menyorot ke bawah karena Elzabeth dalam sumur. Dalam sumur absolut kesadarannya akan kefanaan. Dari sana ia harus menarik diri dari dalam kefanaan, membebaskan dirinya yang abadi. Saat itu, dalam pikiran saya, Elizabeth dan Bess adalah orang yang sama. Tapi ada saat dimana Elizabeth memisahkan dirinya. Film ini mengupas banyak level pada adegan tersebut. Bagaimana kita mendongeng secara visual, dengan musik dan aktor, dan pada setiap level ada rasa yang berbeda yang kadang saling berlawanan. Bagaimana saya mengulas ini? Apakah proses mendongeng?
About ten years ago, I heard this little thing from a politician, not a politician that was very well respected in India. And he said that these people in the cities, in one flush, expend as much water as you people in the rural areas don't get for your family for two days. That struck a chord, and I said, "That's true." I went to see a friend of mine, and he made me wait in his apartment in Malabar Hill on the twentieth floor, which is a really, really upmarket area in Mumbai. And he was having a shower for 20 minutes. I got bored and left, and as I drove out, I drove past the slums of Bombay, as you always do, and I saw lines and lines in the hot midday sun of women and children with buckets waiting for a tanker to come and give them water. And an idea started to develop. So how does that become a story? I suddenly realized that we are heading towards disaster.
10 tahun lalu, Saya cerita kecil ini dari seorang politisi, bukan politisi yang sangat dihormati di India. Katanya orang kota, dengan sekali tarik, menghabiskan sebanyak air yang digunakan orang desa untuk sekeluarga selama dua hari. Itu menyentuh nalar dan saya pikir ada benarnya. Saya pergi menemui teman, dan dia membuat saya menunggu di apartmennya di Malabar Hill lantai duapuluh, di daerah yang sangat, sangat elit di Mumbai. Ia mandi selama 20 menit. Saya bosan dan pergi, saat keluar, saya melewati area kumuh Bombay, seperti selalu, dan melihat barisan panjang di bawah matahari siang wanita dan anak-anak dengan ember menunggu mobil tanki untuk datang dan memberi mereka air. Dan sebuah ide mulai berkembang. Bagaimana itu menjadi sebuah cerita? Tiba-tiba saya menyadari bahwa kita menuju malapetaka.
So my next film is called "Paani" which means water. And now, out of the mythology of that, I'm starting to create a world. What kind of world do I create, and where does the idea, the design of that come? So, in my mind, in the future, they started to build flyovers. You understand flyovers? Yeah? They started to build flyovers to get from A to B faster, but they effectively went from one area of relative wealth to another area of relative wealth. And then what they did was they created a city above the flyovers. And the rich people moved to the upper city and left the poorer people in the lower cities, about 10 to 12 percent of the people have moved to the upper city.
Jadi film saya berikutnya "Paani" yang artinya air. Dari mitologi itu, saya mulai menciptakan dunia. Dunia macam apa yang saya ciptakan, dan dari mana ide dan desain dunia itu datang? Dalam pikiran saya, di masa depan, mereka mulai membangun flyover. Mengerti flyover? Yeah? Mereka mulai membangun flyover untuk mencapai titik B dari titik A lebih cepat tapi praktis mengikat satu daerah makmur dengan daerah makmur lainnya. Apa yang mereka lakukan adalah menciptakan sebuah kota di atas flyover. Dan yang kaya pindah ke bagian atas kota meninggalkan yang miskin di kota bagian bawah, 10 sampai 12 persen populasi pindah ke kota atas.
Now, where does this upper city and lower city come? There's a mythology in India about -- where they say, and I'll say it in Hindi, [Hindi] Right. What does that mean? It says that the rich are always sitting on the shoulders and survive on the shoulders of the poor. So, from that mythology, the upper city and lower city come. So the design has a story.
Darimana datangnya kota atas dan kota bawah ini? Ada mitologi India tentang -- katanya dalam bahasa Hindi, [Hindi] Apa artinya? Katanya yang kaya selalu duduk di atas bahu dan hidup di atas bahu yang miskin. Dari mitologi itu datangnya kota atas dan kota bawah. Maka desain tersebut memiliki donggeng.
And now, what happens is that the people of the upper city, they suck up all the water. Remember the word I said, suck up. They suck up all the water, keep to themselves, and they drip feed the lower city. And if there's any revolution, they cut off the water. And, because democracy still exists, there's a democratic way in which you say "Well, if you give us what [we want], we'll give you water."
Apa yang terjadi adalah, penghuni kota atas, menghisap seluruh air. Ingat kata itu, menghisap. Menghisap seluruh air, menyimpannya sendiri, dan menetesi kota bawah sedikit-sedikit. Jika terjadi revolusi, mereka memotong air. Dan karena demokrasi masih ada, ada demokrasi saat mengatakan "Beri kami apa yang kami mau, kami berikan kalian air."
So, okay my time is up. But I can go on about telling you how we evolve stories, and how stories effectively are who we are and how these get translated into the particular discipline that I am in, which is film. But ultimately, what is a story? It's a contradiction. Everything's a contradiction. The universe is a contradiction. And all of us are constantly looking for harmony. When you get up, the night and day is a contradiction. But you get up at 4 a.m. That first blush of blue is where the night and day are trying to find harmony with each other. Harmony is the notes that Mozart didn't give you, but somehow the contradiction of his notes suggest that. All contradictions of his notes suggest the harmony. It's the effect of looking for harmony in the contradiction that exists in a poet's mind, a contradiction that exists in a storyteller's mind. In a storyteller's mind, it's a contradiction of moralities. In a poet's mind, it's a conflict of words, in the universe's mind, between day and night. In the mind of a man and a woman, we're looking constantly at the contradiction between male and female, we're looking for harmony within each other.
Okay, waktu saya habis. Tapi saya bisa terus menceritakan begaiman dongeng berkembang, dan bagaimana dongeng adalah diri kita sendiri dan bagaimana ini diterapkan pada disiplin tertentu dalam bidang saya, yaitu film. Pada akhirnya, apalah dongeng? Sebuah kontradiksi. Segalanya berupa kontradiksi. Semesta adalah kontradiksi. Dan kita semua tengah mencari harmoni. Saat terjaga, malam dan siang adalah kontradiksi. Tapi bangun pukul 4 AM. Pada rekah rona biru dimana malam dan siang bertemu tengah mencari harmoni satu sama lain. Harmoni adalah kunci musik yang tak diberikan Mozart, tapi diacukan oleh kunci-kuncinya yang berlawanan. Semua kontradiksi musiknya mengacukan harmoni. Efek dari mencari harmoni dalam kontradiksi yang hidup di benak penyair, kontradiksi yang hidup di benak pendongeng. Di benak pendongeng, adalah kontradiksi moralitas. Di benak penyair, konflik kata-kata, di benak semesta, antara siang dan malam. Di benak lelaki dan perempuan, kita selalu menemukan kontradiksi antara lelaki dan perempuan, mencari harmoni dalam sesama.
The whole idea of contradiction, but the acceptance of contradiction is the telling of a story, not the resolution. The problem with a lot of the storytelling in Hollywood and many films, and as [unclear] was saying in his, that we try to resolve the contradiction. Harmony is not resolution. Harmony is the suggestion of a thing that is much larger than resolution. Harmony is the suggestion of something that is embracing and universal and of eternity and of the moment. Resolution is something that is far more limited. It is finite; harmony is infinite. So that storytelling, like all other contradictions in the universe, is looking for harmony and infinity in moral resolutions, resolving one, but letting another go, letting another go and creating a question that is really important.
Seluruh ide kontradiksi, tapi penerimaan kontradiksi, adalah proses mendongeng itu, bukan resolusinya. Masalah pada kebanyakan cerita Hollywood dan banyak film dan [tak jelas] katanya, kita berusaha menyelesaikan kontradiksi. Harmoni bukan resolusi. Harmoni adalah acuan yang jauh lebih luas daripada resolusi. Harmoni adalah acuan yang memeluk dan universal dan menyentuh keabadian sekaligus saat ini. Resolusi jauh lebih terbatas dari itu. Resolusi terbatas, harmoni tak terbatas. Dongeng, sebagaimana kontradiksi lain di dunia, mencari harmoni dan ketakterbatasan dalam resolusi moral, menyelesaikan yang satu tapi melepaskan lainnya, melepaskan lainnya dan menciptakan pertanyaan yang sangat penting.
Thank you very much. (Applause)
Terima kasih banyak. (Tepuk tangan)