I run a design studio in New York. Every seven years, I close it for one year to pursue some little experiments, things that are always difficult to accomplish during the regular working year. In that year, we are not available for any of our clients. We are totally closed. And as you can imagine, it is a lovely and very energetic time.
Diseinu estudio bat dut New York-en. Zazpi urtetik behin itxi egiten dut zenbait experimentu egiteko, lan urte arrunt batean aurrera ateratzeko zailak diren gauzak. Urte hortan ez dugu gure bezeroentzako lanik egiten. Erabat itxita gaude. Eta imagina dezakezuen bezala oso garai ederra eta energetikoa da.
I originally had opened the studio in New York to combine my two loves, music and design. And we created videos and packaging for many musicians that you know, and for even more that you've never heard of. As I realized, just like with many many things in my life that I actually love, I adapt to it. And I get, over time, bored by them. And for sure, in our case, our work started to look the same. You see here a glass eye in a die cut of a book. Quite the similar idea, then, a perfume packaged in a book, in a die cut. So I decided to close it down for one year.
Nire estudioa New York-en ireki nuen nire bi pasioak lotzeko, musika eta diseinua. Eta bideoak eta aukezpen materiala sortu dugu ezagutzen dituzuen musikari askorentzat, Eta ezezagunak zaizkizuen musikari askoz gehiagorentzat. Eta konturatu nintzen, benetan maite ditudan bizitzako beste gauza askorekin bezala, ohitu egiten naizela. Eta, denbora iragan ahala, aspertu egiten naizela. Eta noski, gure kasuan lana beti itxura berdina hartzen hasi zen. Hemen. liburu batean sartuta dagoen kristalezko begi bat. Antzerako ideia hemen, liburu batean sartuta dagoen perfume bat. Beraz urte batez estudioa ixtea erabaki nuen.
Also is the knowledge that right now we spend about in the first 25 years of our lives learning, then there is another 40 years that's really reserved for working. And then tacked on at the end of it are about 15 years for retirement. And I thought it might be helpful to basically cut off five of those retirement years and intersperse them in between those working years. (Applause) That's clearly enjoyable for myself. But probably even more important is that the work that comes out of these years flows back into the company and into society at large, rather than just benefiting a grandchild or two.
Gaur egun gauza jakina da gure bizitzako haserako 25 urteak ikasten ematen ditugula. Gero beste 40 urteko tarte bat dago benetan lan egiteko erreserbatuta. Eta horren amaierari itsatsita 15 urteko erretiroa dugu. Eta pentsatu nuen lagungarri izango zela oinarrian erretiroari bost urte hartu eta lan-urte hoietan tartekatzea. (Txaloak) Nabarmena da hori atsegin dudala. Baina agian garrantzitsuagoa da urte hoietatik ateratzen den lanak empresarengan eta gizartearengan orokorrean , duen eragina, biloba bat edo birentzako onuraz haraindi.
There is a fellow TEDster who spoke two years ago, Jonathan Haidt, who defined his work into three different levels. And they rang very true for me. I can see my work as a job. I do it for money. I likely already look forward to the weekend on Thursdays. And I probably will need a hobby as a leveling mechanism. In a career I'm definitely more engaged. But at the same time, there will be periods when I think is all that really hard work really worth my while? While in the third one, in the calling, very much likely I would do it also if I wouldn't be financially compensated for it.
Duela bi urte hitzaldi bat eman zuen TED kide bat dago, Jonathan Haidt, eta hark lana hiru maila ezberdinetan sailkatzen zuen. Eta oso egiazko iruditu zitzaizkidan. Nire lana eginbehar bezala ikusi dezaket. Diruagatik egiten dut. Ostegunerako asteburua besterik ez dut gogoan. Eta seguruenik hobby-ren bat beharko dut oreka-mekanismo bezala. Karrera batean, askoz konprometituago nago. Baina era berean, zenbait momentuta pentsatuko dut hain gogor lan egiteak pena merezi al du? Hirugarrengoan, bokazioan, seguru aski egiten dudana egingo nuke trukean dirurik jasoko ez banu ere.
I am not a religious person myself, but I did look for nature. I had spent my first sabbatical in New York City. Looked for something different for the second one. Europe and the U.S. didn't really feel enticing because I knew them too well. So Asia it was. The most beautiful landscapes I had seen in Asia were Sri Lanka and Bali. Sri Lanka still had the civil war going on, so Bali it was. It's a wonderful, very craft-oriented society.
Ez naiz pertsona erlijiosoa, baina nire izaerak bilatzera narama. Nire lehen urte sabatikoa New York-en pasa nuen. Bigarrenerako ezberdina izango zen zerbaiten bila nenbilen. Europa eta EE.BB. ez zitzaizkidan erakargarri oso ongi ezagutzen nituelako. Beraz Asia Aukeratu nuen. Asian ikusi nituen paisaia ederrenak Sri lanka eta Balin zeuden. Sri Lankan gerrate zibilean zeuden. Beraz Bali aukeratu nuen. Gizarte zoragarria da, eskulanari garrantzia handia ematen diona.
I arrived there in September 2008, and pretty much started to work right away. There is wonderful inspiration coming from the area itself. However the first thing that I needed was mosquito repellent typography because they were definitely around heavily. And then I needed some sort of way to be able to get back to all the wild dogs that surround my house, and attacked me during my morning walks. So we created this series of 99 portraits on tee shirts. Every single dog on one tee shirt. As a little retaliation with a just ever so slightly menacing message (Laughter) on the back of the shirt. (Laughter)
2008ko Irailean iritsi nintzen hara, eta berehalaxe hasi nintzen lanean. Tokiak berak iradokitzen dizun inspirazio zoragarria zetorkidan. Edonola, behar izan nuen lehenengo gauza eltxoak uxatzeko tipografia izan zen zeren ikaragarri molestatzen ninduten. Eta gero nire etxea inguratzen zuten eta nire goizeko ibilaldietan erasotzen ninduten txakur basati guztiak uxatzeko eraren bat bilatu behar nuen. Beraz kamixeta serie bat sortu genuen 99 erretraturekin. Txakur bakoitza kamixeta batean. Mendeku txiki bat izan zen mehatxu mezu pittin batekin. (Barreak) kamixetaren atzekaldean. (Barreak)
Just before I left New York I decided I could actually renovate my studio. And then just leave it all to them. And I don't have to do anything. So I looked for furniture. And it turned out that all the furniture that I really liked, I couldn't afford. And all the stuff I could afford, I didn't like. So one of the things that we pursued in Bali was pieces of furniture. This one, of course, still works with the wild dogs. It's not quite finished yet. And I think by the time this lamp came about, (Laughter) I had finally made peace with those dogs. (Laughter)
New York utzi baino lehen nire estudioa berritu nahi nuela erabaki nuen. Dena norbaiten kargu utzi eta hartara nik ez nuen ezer egin beharko. Beraz altzariak begiratzen hasi eta konturatu nintzen gustatzen zitzaizkidan altzariak ezin nituela ordaindu eta ordain nitzazkeenak, ez nituela gustoko. Beraz, Balin lortu nahi genuen gauza garrantzitsuenetako bat altzariak ziren. Honek, noski, oraindik txakur basatiak ditu bere baitan. Ez dago oraindik amaituta. Eta uste dut lanpara hau sortu zenerako (Barreak) Txakurrekin bakean nengoela. (Barreak)
Then there is a coffee table. I also did a coffee table. It's called Be Here Now. It includes 330 compasses. And we had custom espresso cups made that hide a magnet inside, and make those compasses go crazy, always centering on them. Then this is a fairly talkative, verbose kind of chair. I also started meditating for the first time in my life in Bali. And at the same time, I'm extremely aware how boring it is to hear about other people's happinesses. So I will not really go too far into it.
Kafea hartzeko mahai hau ere egin nuen. Hemen Egon Orain izena du. 330 iparorratz ditu bere baitan. Eta iman bat izkutatzen zuten katiluak egin genituen, honek iparrorratzak erotu egiten ditu beti katilua seinalatuz. Gero aulki berritsu hau dugu, jario dexentea duena. Hortaz gain, Balin meditatzen hasi nintzen. Era berean, erabat konsziente naiz zein aspergarria den beste pertsonen zorionari buruz entzutea. Beraz ez dut hortan sakonduko
Many of you will know this TEDster, Danny Gilbert, whose book, actually, I got it through the TED book club. I think it took me four years to finally read it, while on sabbatical. And I was pleased to see that he actually wrote the book while he was on sabbatical. And I'll show you a couple of people that did well by pursuing sabbaticals.
Zuetako askok ezagutuko duzue TED kide hau, Danny Gilbert, bere liburua TED liburu elkartearen bitartez lortu nuen. Uste dut lau urte iragan direla irakurri dudan arte, nire urte sabatikoan. Eta asko poztu nintzen liburua garai sabatiko batean idatzi zuela jakin nuenean. Garai sabatikoak bikain aprobetxatzen dakiten pertsona pare bat erakutsiko dizuet.
This is Ferran Adria. Many people think he is right now the best chef in the world with his restaurant north of Barcelona, El Bulli. His restaurant is open seven months every year. He closes it down for five months to experiment with a full kitchen staff. His latest numbers are fairly impressive. He can seat, throughout the year, he can seat 8,000 people. And he has 2.2 million requests for reservations.
Hau Ferran Adria da. Askok uste dute une hontan munduko sukaldaririk onena dela Bartzelonatik iparraldera du bere jatetxea, elBulli. Bere jatetxeak urtero zazpi hilabete ematen ditu irekita. Eta bost hilabete itxita sukaldari talde guztiarekin experimentatu ahal izateko. Bere azken zenbakiak harrigarriak dira. Urte guztian zehar, 8.000 pertsona zerbitzatu ditzake Eta 2,2 miloi erretserba-eskaera ditu.
If I look at my cycle, seven years, one year sabbatical, it's 12.5 percent of my time. And if I look at companies that are actually more successful than mine, 3M since the 1930s is giving all their engineers 15 percent to pursue whatever they want. There is some good successes. Scotch tape came out of this program, as well as Art Fry developed sticky notes from during his personal time for 3M. Google, of course, very famously gives 20 percent for their software engineers to pursue their own personal projects.
Nire zikloari begiratzen badiot, zazpi lan urte, bat sabatikoa nire denboraren % 12,5-a da Eta nire baina arrakastatsuago diren enpresei begiratzen badiet 3M, 1930. hamarkadatik bere ingeniari guztiei %15-a ematen die nahi dutena egin dezaten. Eta oso arrakasta onak lortu ditu. Zeloa programa hontatik irten zen, era berean, Art Fry-ek paper itsakorrak garatu zituen 3M-ek ematen zion denbora pertsonal horretan Google-k, ezaguna den bezala %20-a ematen die bere software ingenieriei baraien proiektu pertsonalak jarraitu ditzaten.
Anybody in here has actually ever conducted a sabbatical? That's about five percent of everybody. So I'm not sure if you saw your neighbor putting their hand up. Talk to them about if it was successful or not. I've found that finding out about what I'm going to like in the future, my very best way is to talk to people who have actually done it much better than myself envisioning it.
Hemengo norbaitek izan al du noizbait denbora sabatiko bat? Hemen gaudenon %5-a da hori. Ez dakit ondoan eserita daukazuenaren eskua jasota ikusi duzuen ala ez. Galde iezaiozue arrakastatsua izan zen ala ez. Konturatu naiz etorkizunean egin nahi izango dudana jakiteko erarik hoberena, jadanik hortan aritu den jendearekin hizketa egitea dela, nik neuk buruan irudikatzea baino askoz hobeto.
When I had the idea of doing one, the process was I made the decision and I put it into my daily planner book. And then I told as many, many people as I possibly could about it so that there was no way that I could chicken out later on. (Laughter)
Urte sabatikoa hartzeko ideia izan nuenean erabakia hartu eta nire agendan ipini nuen. Gero, ahal izan nuen pertsona kopuru zabalenari kontatu nion ondoren kokiltzeko aukerarik ez izateko. (Barreak)
In the beginning, on the first sabbatical, it was rather disastrous. I had thought that I should do this without any plan, that this vacuum of time somehow would be wonderful and enticing for idea generation. It was not. I just, without a plan, I just reacted to little requests, not work requests, those I all said no to, but other little requests. Sending mail to Japanese design magazines and things like that. So I became my own intern. (Laughter)
Hasieran, nire lehen urte sabatikoa nahiko desastrea izan zen. Inolako planik gabe bizi behar nuela pentsatu nuen nolabait denbora hutsune hori zoragarri eta liluragarri bilakatuko zela ideiak sortu ahal izateko. Ez zen hala izan. Inolako planik gabe, eskaera txikiei erantzuten nien soilik, ez ziren lan eskaerak, haiei guztiei ezetz esaten nien, beste eskaera txikiak ziren. Japoniako diseinu aldizkarietara gutunak bidali eta horrelako gauzak. Beraz, nire bekadun propioa bihurtu nintzen. (Barreak)
And I very quickly made a list of the things I was interested in, put them in a hierarchy, divided them into chunks of time and then made a plan, very much like in grade school. What does it say here? Monday, 8 to 9: story writing; 9 to 10: future thinking. Was not very successful. And so on and so forth. And that actually, specifically as a starting point of the first sabbatical, worked really well for me. What came out of it? I really got close to design again. I had fun. Financially, seen over the long term, it was actually successful. Because of the improved quality, we could ask for higher prices.
Beraz berehala interesatzen ninduten gauzen zerrenda bat egin nuen, hierarkikoki antolatu, denbora ataletan zatitu eta plangintza bat ezarri nuen, eskolan egin ohi den bezala. Zer dio hemen? Astelehena 8tatik 9tara: istorioak idaztea. 9tatik 10tara: etorkizunari buruz pentsatzea Hori ez zen oso arrakastatsua izan. Eta honela aste guztia. Eta egian esan, lehenego urte sabatikoaren abiapuntu gisa, oso ondo funtzionatu zuen niretzat. Zer atera zen hortik? Diseinuarekiko lotura berriro sentitu nuen. Dibertitu egin nintzen. Finantza aldetik, eta epe luzerako ikuspegiarekin, arrakastatsua izan zen. Kalitatea hobetu genuenez, prezio altuagoak ezarri genituen.
And probably most importantly, basically everything we've done in the seven years following the first sabbatical came out of thinking of that one single year. And I'll show you a couple of projects that came out of the seven years following that sabbatical. One of the strands of thinking I was involved in was that sameness is so incredibly overrated. This whole idea that everything needs to be exactly the same works for a very very few strand of companies, and not for everybody else.
Eta agian garrantzitsuago dena, lehenengo urte sabatikoaren ondorengo zazpi urteetan egin genuen guztia oinarrian, urte horren inguruko gogoetatik irten zen. Urte sabatiko haren ondorengo zazpi urte haietan burututako pare bat proiektu erakutsiko dizkizuet. Nere baitan nituen pentsakera ildoetako batek zion Uniformetasuna neurriz kanpo baloratzen dela. Gauza guztiak erabat berdinak izan behar horrek enpresa gutxi batzuentzako funtzionatzen du eta beste guztientzako ez
We were asked to design an identity for Casa da Musica, the Rem Koolhaas-built music center in Porto, in Portugal. And even though I desired to do an identity that doesn't use the architecture, I failed at that. And mostly also because I realized out of a Rem Koolhaas presentation to the city of Porto, where he talked about a conglomeration of various layers of meaning. Which I understood after I translated it from architecture speech in to regular English, basically as logo making. And I understood that the building itself was a logo.
Case de Musica-rentzat identitate bat diseinatzeko eskatu ziguten, Rem Koolhaas-ek sortutako musika-zentrua da, Oporto-n, Portugalen. Eta arkitektura erabiltzen ez zuen identitate bat sortu nahi nuen, baina porrot egin nuen. Zerbaitetaz jabetu nintzen Ren Koolhaas-ek Oportoko hiriarentzat egin zuen aukezpena ikusi ondoren, non esanahi geruza ezberdinen konglomeratuaz aritu zen hizketan. Arkitektura diskurtsotik hizkuntza arruntera itzuli ondoren, ulertu nuen oinarrian logo sortzeaz ari zela. Eta ulertu nuen eraikina bera logo bat zela.
So then it became quite easy. We put a mask on it, looked at it deep down in the ground, checked it out from all sides, west, north, south, east, top and bottom. Colored them in a very particular way by having a friend of mine write a piece of software, the Casa da Musica Logo Generator. That's connected to a scanner. You put any image in there, like that Beethoven image. And the software, in a second, will give you the Casa da Musica Beethoven logo. Which, when you actually have to design a Beethoven poster, comes in handy, because the visual information of the logo and the actual poster is exactly the same.
Orduan oso erreza bilakatu zen. Maskara bat ipini genion, tokian bertan sakonki aztertu genuen, alde guztiak miatu genituen mendebala, iparra, hegoa, ekialdea gainetik eta azpitik. Oso era berezian koloreztatu genuen nire lagun batek sortutako software bati esker "Casa de Musica Logo Sortzailea". Eskaner bati konektatua dago. Edozein irudi bertan sartzen duzu, adibidez Beethoven-en irudi hau. Eta softwarea-ak, segundu baten, Casa de Musica Beethoven logoa sortzen du. Eta hori, Beethoven-en poster bat diseinatu behar duzunean oso erabilgarria da, logoan azaltzen den informazio bisuala eta posterreakoa, berdin-berdinak bait dira.
So it will always fit together, conceptually, of course. If Zappa's music is performed, it gets its own logo. Or Philip Glass or Lou Reed or the Chemical Brothers, who all performed there, get their own Casa da Musica logo. It works the same internally with the president or the musical director, whose Casa da Musica portraits wind up on their business cards. There is a full-blown orchestra living inside the building. It has a more transparent identity. The truck they go on tour with. Or there's a smaller contemporary orchestra, 12 people that remixes its own title.
Beraz, beti datoz bat, kontzeptualki, noski. Zappá-ren musika jo behar badute, bere logo propioa sortzen da. edo Philip Glass, edo Lou Reed, edo Chemical Brothers, denek han jo dute, eta bakoitzak bere logoa izan du. Casa de Musica logoak. Berdin funtzionatzen du presidentearekin edo musika zuzendariarekin, bakoitzaren Casa de Musica erretratuak bere negozio-txarteletan azaltzen dira. Benetako orkesta bat dago eraikinaren barruan bizitzen. Identitate gardenagoa dauka. Biratan erabiltzen duten kamioia. Edo12 laguneko orkesta garaikide txikiago bat dago, bere izenburua bertsionatzen da.
And one of the handy things that came about was that you could take the logo type and create advertising out of it. Like this Donna Toney poster, or Chopin, or Mozart, or La Monte Young. You can take the shape and make typography out of it. You can grow it underneath the skin. You can have a poster for a family event in front of the house, or a rave underneath the house or a weekly program, as well as educational services.
Eta erabilgarri suertatu den gauzatako bat izan zen logotipoa har zenezakeela eta bertatik iragarkiak sortu. Donna Toney poster hau bezala, edo Chopin, edo Mozart, edo La Monte Young. Forma har dezakezu eta bertatik tipografia sortu. Azalaren azpian koka dezakezu. Etxearen aurrean egingo den famili ospakizun baten posterra sortu dezakezu, edo "rave" festa batena, edo asteroko programa bat, eta baita hezkuntza zerbitzuak ere.
Second insight. So far, until that point I had been mostly involved or used the language of design for promotional purposes, which was fine with me. On one hand I have nothing against selling. My parents are both salespeople. But I did feel that I spent so much time learning this language, why do I only promote with it? There must be something else. And the whole series of work came out of it. Some of you might have seen it. I showed some of it at earlier TEDs before, under the title "Things I've Learned in My Life So Far." I'll just show two now.
Bigarren burutazioa. Une horretara arte gehienbat diseinuaren hizkuntza erabiltzen nuen promozioarekin zerikusia zuten helburuetarako, eta ondo sentitzen nintzen. Alde batetik, ez dut ezer saltzearen kontra. Nire gurasoak saltzaileak dira. Baina sentitzen nuen hizkuntza hau ikasten hainbeste denbora igaro ondoren zergatik erabili promoziorako bakarrik? Zerbait gehiago egin liteke. Eta lan multzo oso bat bertatik abiatu zen. Zuetako batzuk dagoeneko ikusi duzue. Zenbait la erakutsi ditut aurreko TED hitzalditan, "Orain arte nire bizitzan ikasi ditudan gauzak" izenburupean. Bi erakutsiko dizkizuet.
This is a whole wall of bananas at different ripenesses on the opening day in this gallery in New York. It says, "Self-confidence produces fine results." This is after a week. After two weeks, three weeks, four weeks, five weeks. And you see the self confidence almost comes back, but not quite. These are some pictures visitors sent to me. (Laughter)
Hau heldutasun-puntu desberdina duten banana-pareta bat da New York-eko galeria hau inauguratu zen egunean hala zion: "Autokonfidantzak emaitza bikainak sortzen ditu". Hau astebete beranduago da. Bi aste beranduago, hiru aste, lau aste, bost aste. Ikusten duzuenez, autokonfidantza ia itzuli egiten da, baina ez guztiz. Zenbait bisitarik argazkiak bidali zizkidaten. (Barreak)
And then the city of Amsterdam gave us a plaza and asked us to do something. We used the stone plates as a grid for our little piece. We got 250,000 coins from the central bank, at different darknesses. So we got brand new ones, shiny ones, medium ones, and very old, dark ones. And with the help of 100 volunteers, over a week, created this fairly floral typography that spelled, "Obsessions make my life worse and my work better."
Ondoren, Amsterdam-eko hiriak plaza bat eman zigun eta zerbait egiteko eskatu. Harlauzak gure pieza txikiarentzat lauki-sare bezela erabili genituen. Banku Zentraleko 250.000. txanpon lortu genituen, tonu ezberdinekin. Bagenituen batzuk oso berriak, dizdiratsuak, ertainak, eta oso zaharrak, ilunak. Eta 100 bolondresen laguntzarekin, astebetez, lore-tipografia hau sortu genuen eta hau zion " Obsesioek nire bizitza okerragoa egiten dute eta nire lana hobea."
And the idea of course was to make the type so precious that as an audience you would be in between, "Should I really take as much money as I can? Or should I leave the piece intact as it is right now?" While we built all this up during that week, with the 100 volunteers, a good number of the neighbors surrounding the plaza got very close to it and quite loved it. So when it was finally done, and in the first night a guy came with big plastic bags and scooped up as many coins as he could possibly carry, one of the neighbors called the police.
Eta noski, ideia zen emaitza oso ederra lortzea eta audientziarengan zalantza sortzea. "Ahal bezainbeste diru hartu beharko nuke?" Edo pieza bere hortan ukitu gabe utzi beharko nuke?" Lanean ari ginela aste hortan, ehun bolondresak han ari zirela plazan bueltaka zebilen bizilagun askok piezarekiko atxikimendua sentitu zuen, gustoko zuten. Lana amaitu eta lehenengo gauean tipo bat azaldu zen plastikozko poltsa handiekin, eta garraia zitzakeen adina txanpon hartu zituen, bizilagunetako batek poliziari deitu zion.
And the Amsterdam police in all their wisdom, came, saw, and they wanted to protect the artwork. And they swept it all up and put it into custody at police headquarters. (Laughter) I think you see, you see them sweeping. You see them sweeping right here. That's the police, getting rid of it all. So after eight hours that's pretty much all that was left of the whole thing. (Laughter)
Eta Amsterdamenko poliziak bere zuhurtzia osoz, bertara joan, ikusi eta arte lana babestu nahi izan zuen. Beraz dena erratzarekin bildu eta zainpean ipini zuten poliziaren kuartelean. (Barreak) Usten dut ikusi ditzakezuela, erratza pasatzen ari dira. Hau polizia da, dena paretik kentzen. Beraz, zortzi ordu beranduago lan guztia desagertu zen eta hau zen geratzen zen guztia. (Barreak)
We are also working on the start of a bigger project in Bali. It's a movie about happiness. And here we asked some nearby pigs to do the titles for us. They weren't quite slick enough. So we asked the goose to do it again, and hoped she would do somehow, a more elegant or pretty job. And I think she overdid it. Just a bit too ornamental. And my studio is very close to the monkey forest. And the monkeys in that monkey forest looked, actually, fairly happy. So we asked those guys to do it again. They did a fine job, but had a couple of readability problems. So of course whatever you don't really do yourself doesn't really get done properly.
Balin proiektu handiago baten hastapenetan ari gara lanean. Zorionari buruzko filma bat da. Eta bertako txerri batzuei eskatu diegu izenburuak egin ditzaten. Ez ziren behar bezain trebeak. Beraz antzarrari eskatu genion berriro egin zitzan, eta nolabait espero genuen lan dotoreago edo politagoa egingo zuela. Eta uste dut gehiegikerian erori zela. Gehiegi apaindu zuen. Nire estudioa tximuak dituen baso batetatik oso gertu dago. eta tximu-baso hartako tximuek nahiko zoriontsu dirudite. Beraz tipo hauei berriro egiteko eskatu genien. Lan ona egin zuten baina irakurgarritasun problema pare bat izan zituzten. Eta noski, zuk zeuk egiten ez baduzu sekula ez da ondo eginda geldituko.
That film we'll be working on for the next two years. So it's going to be a while. And of course you might think that doing a film on happiness might not really be worthwhile. Then you can of course always go and see this guy.
Filma hontan lanean jardungo dugu datozen bi urteotan. Beraz, bada puskatxo bat. Eta noski, pentsa dezakezue zorionari buruzko filma bat egiteak ez duela benetan penarik merezi, orduan noski beti joan zaitezkete tipo hau ikustera.
Video: (Laughter) And I'm happy I'm alive. I'm happy I'm alive. I'm happy I'm alive.
Bideoa: (Barreak) Zoriontsu nago bizirik nagoelako Zoriontsu nago bizirik nagoelako. Zoriontsu nago bizirik nagoelako
Stefan Sagmeister: Thank you. (Applause)
Eskerrikasko Txaloak