TED2011
Julie Taymor: Spider-Man, The Lion King and life on the creative edge
Džuli Tejmor (Julie Taymor): Spajdermen, Kralj lavova i život na kreativnoj ivici
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Prikazujući spektakularne klipove iz produkcija poput Fride, Bure i Kralja lavova, režiserka Džuli Tejmor opisuje život uronjen u pozorište i film. U snimku nastalom upravo u vreme kada kontroverza oko njene brodvejske produkcije "Spajdermen: Isključite mrak" dostiže svoj vrhunac, ona otvoreno opisuje tenzije koje su sastavni deo njenog kreativnog procesa, dok teži da uhvati samu srž priče, ali i da istovremeno proizvede dosad neviđene prizore i iskustva.
Julie Taymor - Director, designer
Julie Taymor is a film, theater and opera director. She is known for lavish movies such as Frida and for her hit Broadway musicals, The Lion King and Spider-Man: Turn Off the Dark. Full bio
Julie Taymor is a film, theater and opera director. She is known for lavish movies such as Frida and for her hit Broadway musicals, The Lion King and Spider-Man: Turn Off the Dark. Full bio
Double-click the English transcript below to play the video.
00:13
(Music)
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(Muzika)
00:19
["Oedipus Rex"]
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["Kralj Edip"]
00:27
["The Lion King"]
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["Kralj lavova"]
00:34
["Titus"]
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["Tit"]
00:49
["Frida"]
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["Frida"]
01:05
["The Magic Flute"]
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["Čarobna frula"]
01:12
["Across The Universe"]
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["Preko svemira"]
01:27
(Applause)
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(Aplauz)
01:32
Julie Taymor: Thank you. Thank you very much.
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Džuli Tejmor:
Hvala. Hvala puno.
Hvala. Hvala puno.
01:34
That's a few samples of the theater, opera
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Ovo je bilo nekoliko
odlomaka iz predstava, opera
odlomaka iz predstava, opera
01:37
and films that I have done over the last 20 years.
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i filmova na kojima sam radila
u proteklih 20 godina.
u proteklih 20 godina.
01:40
But what I'd like to begin with right now
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Ali želela bih da započnem
01:42
is to take you back to a moment
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tako što ću se vratiti na trenutak
01:44
that I went through in Indonesia,
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koji sam doživela u Indoneziji,
01:46
which is a seminal moment in my life
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koji je ključan trenutak
u mom životu
u mom životu
01:49
and, like all myths,
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i, kao i svi mitovi,
01:51
these stories need to be retold
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ove priče treba prepričavati iznova
01:53
and told, lest we forget them.
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i iznova, da ne bi bile zaboravljene.
01:55
And when I'm in the turbulent times, as we know,
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A kada prolazim kroz turbulentan period,
kroz koji, kao što svi znamo,
kroz koji, kao što svi znamo,
01:58
that I am right now, through the crucible
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prolazim sada, kroz iskušenja
02:01
and the fire of transformation,
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i vatru transformacije,
02:03
which is what all of you do, actually.
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što je ono što svi vi zapravo radite.
02:06
Anybody who creates knows there's that point where
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Svako ko stvara zna
da postoji ona tačka u kojoj
da postoji ona tačka u kojoj
02:09
it hasn't quite become the phoenix or the burnt char.
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nešto još uvek nije postalo
ni feniks, a ni pepeo.
ni feniks, a ni pepeo.
02:14
(Laughter)
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(Smeh)
02:16
And I am right there on the edge,
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Ja se nalazim baš tamo, na ivici,
02:19
which I'll tell you about, another story.
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o čemu ću vam govoriti,
ali to je druga priča.
ali to je druga priča.
02:21
I want to go back to Indonesia
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Želim da se vratim na Indoneziju
02:22
where I was about 21, 22 years, a long time ago,
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gde sam boravila davno,
pre jedno 21-22 godine
pre jedno 21-22 godine
02:26
on a fellowship.
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kao stipendista.
02:27
And I found myself, after two years there
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Nakon dve godine
koje sam provela tamo
koje sam provela tamo
02:30
and performing and learning, on the island of Bali,
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u izvođenju performansa i učenju,
našla sam se na ostrvu Bali,
našla sam se na ostrvu Bali,
02:33
on the edge of a crater, Gunung Batur.
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na ivici kratera Gunung Batur.
02:37
And I was in a village where there was
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Bila sam u selu gde je u toku bio
02:40
an initiation ceremony for the young men,
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obred inicijacije mladića,
02:43
a rite of passage.
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obred prelaska.
02:45
Little did I know that it was mine as well.
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Nisam ni slutila da je bio i moj.
02:47
And as I sat in this temple square
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Dok sam sedela na trgu
gde je bio taj hram
gde je bio taj hram
02:50
under this gigantic beringin banyan tree,
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ispod jednog ogromnog
beringin banjan drveta,
beringin banjan drveta,
02:53
in the dark, there was no electricity, just the full moon,
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u mraku, nije bilo struje,
samo pun mesec,
samo pun mesec,
02:58
down in this empty square,
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dole na tom praznom trgu,
03:00
and I heard the most beautiful sounds,
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i čula sam najdivnije zvukove,
03:02
like a Charles Ives concert
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poput koncerta Čarlsa Ajvsa
03:04
as I listened to the gamelan music
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dok sam slušala gamelan muziku
03:06
from all the different villagers that came
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svih tih raznih seljana koji su došli
03:08
for this once-every-five-years ceremony.
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na ovu ceremoniju koja se održava
jednom u pet godina.
jednom u pet godina.
03:11
And I thought I was alone in the dark under this tree.
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Mislila sam da sam sama
u mraku ispod drveta.
u mraku ispod drveta.
03:15
And all of a sudden, out of the dark,
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Odjednom, iz mraka
03:17
from the other end of the square,
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sa drugog kraja trga
03:19
I saw the glint of mirrors lit by the moon.
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videla sam svetlucanje ogledala
koje je osvetljavao mesec.
koje je osvetljavao mesec.
03:23
And these 20 old men who I'd seen before
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Onih 20 staraca
koje sam videla pre toga
koje sam videla pre toga
03:27
all of a sudden stood up in these full warrior costumes
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su najednom ustali, obučeni
od glave do pete u ratničke kostime
od glave do pete u ratničke kostime
03:32
with the headdress and the spears,
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sa šeširima i kopljima.
03:35
and no one was in the square, and I was hidden in the shadows.
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Na trgu nije bilo nikog,
a ja sam bila skrivena u senci.
a ja sam bila skrivena u senci.
03:39
No one was there, and they came out,
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Nije bilo nikoga, a oni su izašli
03:41
and they did this incredible dance.
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plešući pritom jedan neverovatan ples.
03:45
"Huhuhuhuhuhuhuhahahahaha."
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"Huhuhuhuhuhuhuhahahahaha."
03:49
And they moved their bodies and they came forward,
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Pokretali su svoja tela
dok su prilazili,
dok su prilazili,
03:52
and the lights bounced off these costumes.
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svetla su se odbijala od njihovih kostima.
03:55
And I've been in theater since I was 11 years old,
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Ja sam odlazila u pozorište
od svoje 11. godine,
od svoje 11. godine,
03:58
and performing, creating, and I went,
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nastupala, stvarala,
i moja reakcija je bila:
i moja reakcija je bila:
04:01
"Who are they performing for
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"Za koga oni prave ovu predstavu
04:03
with these elaborate costumes,
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u ovim raskošnim kostimima,
04:06
these extraordinary headdresses?"
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ovim neverovatnim šeširima?"
04:08
And I realized that they were performing for God,
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Shvatila sam da oni to rade za boga,
04:13
whatever that means.
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šta god to značilo.
04:15
But somehow, it didn't matter about the publicity.
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Ali nekako, publicitet
uopšte nije bio bitan.
uopšte nije bio bitan.
04:19
There was no money involved.
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Novac nije igrao nikakvu ulogu.
04:21
It wasn't going to be written down. It was no news.
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Niti je to trebalo negde da bude zapisano.
To nije bila novost.
To nije bila novost.
04:24
And there were these incredible artists
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Ipak, ovi neverovatni umetnici
bili su tu,
bili su tu,
04:26
that felt for me like an eternity as they performed.
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a za mene su oni predstavljali večnost
dok su izvodili svoju predstavu.
dok su izvodili svoju predstavu.
04:30
The next moment,
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Sledećeg trenutka,
04:32
as soon as they finished and disappeared into the shadows,
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čim su završili i nestali u senkama.
04:36
a young man with a propane lantern came on,
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došao je mladić sa propanskim fenjerom,
04:39
hung it up on a tree, set up a curtain.
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obesio ga je na drvo, podigao zavesu.
04:41
The village square was filled with hundreds of people.
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Seoski trg bio je ispunjen stotinama ljudi.
04:44
And they put on an opera all night long.
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I cele noći je na repertoaru bila opera.
04:47
Human beings needed the light.
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Ljudskim bićima bilo je potrebno svetlo.
04:49
They needed the light to see.
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Bila im je neophodna svetlost
da bi videli.
da bi videli.
04:52
So what I gained and gathered from this incredible,
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Dakle, ono što sam dobila
i shvatila iz ovog neverovatnog,
i shvatila iz ovog neverovatnog,
04:55
seminal moment in my life as a young artist
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ključnog momenta u svom životu
kao mladi umetnik
kao mladi umetnik
04:58
was that you must be true
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je da moraš biti do kraja odan
05:01
to what you believe as an artist all the way through,
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onome u šta veruješ kao umetnik,
05:05
but you also have to be aware
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ali i da moraš biti svestan
05:09
that the audience is out there in our lives at this time,
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da je publika u našim životima
uvek tu negde u tim trenucima,
uvek tu negde u tim trenucima,
05:12
and they also need the light.
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i da joj je potrebno svetlo.
05:14
And it's this incredible balance
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To je taj neverovatan balans
05:16
that I think that we walk
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u kom se krećemo
05:18
when we are creating something that is breaking ground,
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kada stvaramo nešto revolucionarno,
05:21
that's trying to do something you've never seen before,
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što ima za cilj da postigne
nešto do tada neviđeno,
nešto do tada neviđeno,
05:24
that imaginary world
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taj imaginarni svet
05:25
where you actually don't know where you're going to end up,
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u kom u stvari ne znate
gde ćete završiti,
gde ćete završiti,
05:29
that's the fine line on the edge of a crater
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to je fina linija na rubu kratera
05:32
that I have walked my whole life.
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po kojoj hodam celog svog života.
05:34
What I would like to do now is to tell you
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Sada bih želela da vam kažem
05:37
a little bit
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nešto više
05:39
about how I work. Let's take "The Lion King."
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o tome kako ja radim.
Uzmimo, na primer "Kralja lavova".
Uzmimo, na primer "Kralja lavova".
05:41
You saw many examples of my work up there,
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Videli ste mnogo primera
mog rada tamo gore,
mog rada tamo gore,
05:44
but it's one that people know.
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ali to je ono što ljudi vide.
05:46
I start with the notion of the ideograph.
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Krećem od pojma ideograma.
05:48
An ideograph is like a brush painting, a Japanese brush painting.
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Ideogram je poput slike
naslikane četkicom, japanske slike.
naslikane četkicom, japanske slike.
05:52
Three strokes, you get the whole bamboo forest.
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Tri poteza i dobili ste
celu šumu bambusa.
celu šumu bambusa.
05:55
I go to the concept of "The Lion King"
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Uzmem pojam "Kralj lavova"
05:58
and I say, "What is the essence of it?
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i pomislim, "Šta je srž toga?
06:00
What is the abstraction?
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Šta je apstrakcija?"
06:01
If I were to reduce this entire story
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Ako bi trebalo da sažmem celu priču
06:05
into one image, what would it be?"
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u jednu sliku, šta bi to bilo?"
06:07
The circle. The circle. It's so obvious.
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Krug. Krug. Tako je očigledno.
06:10
The circle of life. The circle of Mufasa's mask.
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Krug života.
Krug Mufasine maske.
Krug Mufasine maske.
06:14
The circle that, when we come to Act II and there's a drought,
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Krug koji, kada dođemo
do 2. čina i nastane suša
do 2. čina i nastane suša
06:19
how do you express drought?
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kako izraziti sušu?
06:20
It's a circle of silk on the floor
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To je jedan krug od svile na podu
06:24
that disappears into the hole in the stage floor.
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koji nestaje u rupu na podu pozornice.
06:28
The circle of life comes in the wheels
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Krug života dolazi u kolima
06:30
of the gazelles that leap.
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gazela koje poskakuju.
06:33
And you see the mechanics.
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Mehanika je vidljiva.
06:34
And being a theater person, what I know and love about the theater
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Kao neko ko se bavi pozorištem,
ono što znam i što volim u vezi sa pozorištem
ono što znam i što volim u vezi sa pozorištem
06:38
is that when the audience comes in
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je to da kada publika uđe
06:40
and they suspend their disbelief,
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i suzdržava se u neverici,
06:41
when you see men walking or women walking
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kada vidite čoveka kako hoda
ili ženu kako hoda
ili ženu kako hoda
06:44
with a platter of grass on their heads,
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sa pladnjem trave na glavama
06:46
you know it's the savanna.
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znate da je u pitanju savana.
06:48
You don't question that.
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Ne dovodite to u pitanje.
06:49
I love the apparent truth of theater.
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Volim očiglednu istinu pozorišta.
06:52
I love that people are willing to fill in the blanks.
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Volim što su ljudi voljni
da popune prazna mesta.
da popune prazna mesta.
06:55
The audience is willing to say,
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Publika je spremna da kaže:
06:57
"Oh, I know that's not a real sun.
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"Oh, znam da to nije pravo sunce.
07:00
You took pieces of sticks.
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Uzeli ste komade štapova.
07:03
You added silk to the bottom.
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Dodali ste svilu na dno.
07:05
You suspended these pieces. You let it fall flat on the floor.
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Rastegli ste te komade.
Ostavili ste da padaju ravno na pod.
Ostavili ste da padaju ravno na pod.
07:08
And as it rises with the strings, I see that it's a sun.
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Kada se podiže sa tim vrpcama,
vidim da je to sunce.
vidim da je to sunce.
07:13
But the beauty of it is that it's just silk and sticks.
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Ali lepota svega toga je
što su to samo svila i štapovi.
što su to samo svila i štapovi.
07:17
And in a way, that is what makes it spiritual.
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Na neki način,
to je ono što daje duhovnost.
to je ono što daje duhovnost.
07:22
That's what moves you.
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To je ono što vas dira.
07:23
It's not the actual literal sunrise that's coming.
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Ne stvarni, bukvalni
izlazak sunca koji predstoji,
izlazak sunca koji predstoji,
07:27
It's the art of it.
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nego umetnost svega toga.
07:29
So in the theater, as much as the story is critical
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Tako da u pozorištu,
koliko god da su važni priča,
koliko god da su važni priča,
07:34
and the book and the language,
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knjiga i jezik,
07:36
the telling of the story, how it's told,
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pričanje priče,
način na koji je ona ispričana,
način na koji je ona ispričana,
07:41
the mechanics, the methods that you use,
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mehanika, metodi koje koristite,
07:44
is equal to the story itself.
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jednako su važni kao i sama priča.
07:47
And I'm one who loves high tech and low tech.
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Ja sam neko ko voli visoke tehnologije
ali i nedostatak tehnologije.
ali i nedostatak tehnologije.
07:50
So I could go from --
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Koristim sve od -
07:52
For instance, I'll show you some "Spider-Man" later,
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na primer, pokazaću vam kasnije
deo "Spajdermena",
deo "Spajdermena",
07:54
these incredible machines that move people along.
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te neverovatne mašine
koje pokreću ljude.
koje pokreću ljude.
07:57
But the fact is, without the dancer
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Ali činjenica je da, bez plesača
08:00
who knows how to use his body and swing on those wires,
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koji zna kako da upravlja svojim telom
i ljulja se na tim kablovima,
i ljulja se na tim kablovima,
08:02
it's nothing.
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to ne predstavlja ništa.
08:04
So now I'm going to show you
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Sada ću da vam pokažem
08:07
some clips from the other big project of my life this year,
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neke klipove iz još jednog mog
velikog životnog projekta ove godine,
velikog životnog projekta ove godine,
08:11
"The Tempest."
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"Bura".
08:12
It's a movie. I did "The Tempest" on a stage three times
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U pitanju je film. Do sada sam uradila
tri verzije "Bure" na pozorišnoj sceni
tri verzije "Bure" na pozorišnoj sceni
08:17
in the theater since 1984, '86,
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od 1984., '86,
08:20
and I love the play.
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i obožavam tu dramu.
08:22
I did it always with a male Prospero.
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Uvek sam je radila sa muškim Prosperom.
08:25
And all of a sudden, I thought,
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Iznenada, pomislila sam,
08:26
"Well, who am I gonna get to play Prospero?
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"Onda, koga ću uzeti da igra Prospera?
08:28
Why not Helen Mirren? She's a great actor. Why not?"
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Recimo Helen Miren?
Ona je sjajna glumica. Što da ne?"
Ona je sjajna glumica. Što da ne?"
08:32
And this material really did work for a woman equally as well.
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I taj materijal je stvarno
jednako dobro odgovarao i ženi.
jednako dobro odgovarao i ženi.
08:35
So now, let's take a look at some of the images
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A sada, hajde da pogledamo
neke od prizora
neke od prizora
08:38
from "The Tempest."
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iz "Bure".
08:40
(Music)
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(Muzika)
08:57
(Video) Prospera: Hast thou, spirit, performed to the point the tempest that I bade thee?
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(Video) Prospera: Jesi li, duše,
izveo tu buru tačno kako ti naredih?
izveo tu buru tačno kako ti naredih?
09:00
Ariel: I boarded the king's ship. In every cabin, I flamed amazement.
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Ariel: Sleteo sam na kraljev brod.
U svakoj kabini širio sam užas u vidu plamena.
U svakoj kabini širio sam užas u vidu plamena.
09:09
Prospera: At first sight, they have changed eyes.
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Prospera: Zagledali su se i zaljubili.
09:12
Miranda: Do you love me?
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Miranda: Voliš li me?
09:13
Ferdinand: Beyond all limit.
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Ferdinand: Više od svega na svetu.
09:15
HM: They are both in either's powers.
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Prospera: Već su u vlasti jedno drugome.
09:17
Trinculo: Misery acquaints a man with strange bedfellows.
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Trinkulo: Beda upozna čoveka
sa neobičnim drugovima u postelji.
sa neobičnim drugovima u postelji.
09:22
(Music)
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(Muzika)
09:26
Looking for business, governor?
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Tražite nešto, upravniče?
09:29
Caliban: Hast thou not dropped from heaven?
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Kaliban: Zar ti nisi pao s neba?
09:31
Stephano: Out of the moon, I do assure thee.
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Stefano: Sa Meseca, uveravam te.
09:34
Prospera: Caliban!
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Prospera: Kaliban!
09:36
Caliban: This island is mine.
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Kaliban: Ovo je ostrvo moje.
09:38
Prospera: For this, be sure, tonight thou shalt have cramps.
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Prospera: Zbog ovoga ćeš još noćas,
to znaj, imati grčeve.
to znaj, imati grčeve.
09:41
Antonio: Here lies your brother no better than the earth he lies upon.
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Antonio: Tu leži brat tvoj, i ne bi bio bolji
od te zemlje na kojoj leži.
od te zemlje na kojoj leži.
09:45
Sebastian: Draw thy sword.
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Sebastijan: Potegni mač svoj.
09:47
And I, the king, shall love thee.
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A ja, kralj, biću i prijatelj tvoj.
09:50
Prospera: I will plague them all, even to roaring.
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Prospera: Sve ću ih
na strašne muke udariti.
na strašne muke udariti.
09:58
Ariel: I have made you mad.
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Ariel: Al' ja vas zaludeh.
10:08
Prospera: We are such stuff as dreams are made on.
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Prospera: Mi smo građa
od koje se prave snovi,
od koje se prave snovi,
10:11
and our little life is rounded with a sleep.
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i naš mali život nam je snom zaokružen.
10:16
(Music)
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(Muzika)
10:21
JT: Okay.
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DžT: Dobro.
10:24
(Applause)
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(Aplauz)
10:28
So I went from theater, doing "The Tempest"
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Dakle, došla sam iz pozorišta
gde sam radila "Buru"
gde sam radila "Buru"
10:30
on the stage in a very low-budget production
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na pozornici u veoma
niskobudžetnoj produkciji
niskobudžetnoj produkciji
10:33
many years ago,
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pre mnogo godina,
10:34
and I love the play, and I also think
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volim tu dramu, a mislim i da
10:37
it's Shakespeare's last play,
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je to Šekspirova poslednja drama,
10:39
and it really lends itself, as you can see, to cinema.
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i da je, kao što ste videli,
izrazito pogodna za film.
izrazito pogodna za film.
10:42
But I'm just going to give you a little example about
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Daću vam jedan mali primer kako
10:45
how one stages it in theater
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se ona postavlja na pozorišnu scenu
10:47
and then how one takes that same idea or story
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i kako se zatim ista ta ideja ili priča
10:51
and moves it into cinema.
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može preneti na filmsko platno.
10:54
The ideograph that I talked to you about before,
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Ideogram o kom sam vam
ranije pričala,
ranije pričala,
10:57
what is it for "The Tempest"?
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šta je to za "Buru"?
10:59
What, if I were to boil it down,
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Šta bi, ako bih morala
sve da sažmem,
sve da sažmem,
11:02
would be the one image that I could
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bio taj jedan prizor na koji
11:04
hang my hat on for this?
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bih u ovom slučaju
mogla da se oslonim?
mogla da se oslonim?
11:06
And it was the sand castle,
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Bio je to peščani dvorac,
11:09
the idea of nurture versus nature,
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ideja negovanja naspram prirode,
11:12
that we build these civilizations --
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mi gradimo civilizacije -
11:14
she speaks about it at the end, Helen Mirren's Prospera --
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ona govori o tome na kraju,
Helen Miren kao Prospera --
Helen Miren kao Prospera --
11:17
we build them, but under nature, under the grand tempest,
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gradimo ih, ali pod uticajem
sila prirode, u velikoj buri,
sila prirode, u velikoj buri,
11:23
these cloud-capped towers, these gorgeous palaces will fade
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ti tornjevi koji dosežu oblake,
te prekrasne palate će izbledeti
te prekrasne palate će izbledeti
11:28
and there will -- leave not a rack behind.
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i za sobom - neće ostaviti ni traga.
11:32
So in the theater, I started the play,
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Počela sam da radim
na predstavi u pozorištu,
na predstavi u pozorištu,
11:35
it was a black sand rake, white cyc,
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bile su tu jedne crne
grablje za pesak, beli cic,
grablje za pesak, beli cic,
11:38
and there was a little girl, Miranda, on the horizon,
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i bila je tu devojčica,
Miranda, na horizontu,
Miranda, na horizontu,
11:41
building a drip castle, a sand castle.
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koja je gradila dvorac od peščanih kapi,
dvorac u pesku.
dvorac u pesku.
11:44
And as she was there on the edge of that stage,
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I dok je bila tamo na ivici pozornice,
11:47
two stagehands all in black
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dva pomoćnika, sva u crnom,
11:51
with watering cans ran along the top
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sa kantama za zalivanje,
trčali su duž vrha
trčali su duž vrha
11:55
and started to pour water on the sand castle,
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i počeli su da sipaju vodu
na peščani dvorac
na peščani dvorac
12:00
and the sand castle started to drip and sink,
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koji je počeo da se osipa i tone,
12:02
but before it did,
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ali pre toga,
12:04
the audience saw the black-clad stagehands.
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publika je mogla da vidi
pomoćnike na sceni obučene u crno.
pomoćnike na sceni obučene u crno.
12:08
The medium was apparent. It was banal. We saw it.
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Medijum je bio očigledan.
Bilo je providno. Bili smo svesni toga.
Bilo je providno. Bili smo svesni toga.
12:13
But as they started to pour the water,
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Ali kada su počeli da sipaju vodu,
12:16
the light changed from showing you the black-clad stagehands
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svetlo se promenilo tako da je,
umesto da osvetljava pomoćnike u crnini
umesto da osvetljava pomoćnike u crnini
12:19
to focusing, this rough magic that we do in theater,
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fokusirano, ta gruba magija
koju izvodimo u pozorištu,
koju izvodimo u pozorištu,
12:23
it focused right on the water itself.
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fokusirano je pravo na samu vodu.
12:26
And all of a sudden, the audience's perspective changes.
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Tako se odjednom
menja perspektiva publike.
menja perspektiva publike.
12:30
It becomes something magically large.
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Pretvori se u nešto magično veliko.
12:34
It becomes the rainstorm.
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Postaje kišna oluja.
12:37
The masked actors, the puppeteers, they disappear,
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Maskirani glumci, lutkari, oni nestaju,
12:40
and the audience makes that leap into this world,
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i publika uskače u taj novi svet,
12:43
into this imaginary world of "The Tempest" actually happening.
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u imaginarni svet "Bure"
koja se stvarno odigrava.
koja se stvarno odigrava.
12:48
Now the difference
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E sad, razlika
12:49
when I went and did it in the cinema,
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u odnosu na to
kako sam radila filmsku verziju.
kako sam radila filmsku verziju.
12:52
I started the actual movie
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Film sam započela
12:54
with a close-up of a sand castle, a black sand castle,
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krupnim planom peščanog dvorca,
crnog peščanog dvorca,
crnog peščanog dvorca,
12:59
and what cinema can do is,
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i ono što film može da učini je da
13:01
by using camera, perspective,
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koristeći kameru menja perspektivu,
13:05
and also long shots and close-ups,
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i da prikazuje stvari
u krupnom planu i iz blizine,
u krupnom planu i iz blizine,
13:08
it started on a close-up of the sand castle,
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kamera je krenula od snimka
peščanog dvorca iz blizine,
peščanog dvorca iz blizine,
13:10
and as it pulled away,
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i dok je odmicala,
13:12
you saw that it was a miniature sitting in the palm
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videlo se da je to u stvari minijatura
13:15
of the girl's hands.
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smeštena na devojčicin dlan.
13:17
And so I could play with the medium,
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Mogla sam
da se poigravam medijumom,
da se poigravam medijumom,
13:18
and why I move from one medium to another
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i to što sam u mogućnosti to da radim
13:21
is to be able to do this.
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je i razlog što idem
od jednog medijuma do drugog.
od jednog medijuma do drugog.
13:23
Now I'm going to take you to "Spider-Man."
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Sada ću vam pokazati "Spajdermena".
13:25
(Music)
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(Muzika)
13:56
(Video) Peter Parker: ♪ Standing on the precipice,
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(Video) Piter Parker:
♪ Dok stojim na litici,
♪ Dok stojim na litici,
13:59
I can soar away from this. ♪
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Mogu da odletim od svega ovoga. ♪
14:04
JT: We're trying to do everything in live theater
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DžT: Pokušavamo da
u pozorištu uživo predstavimo
u pozorištu uživo predstavimo
14:06
that you can't do in two dimensions
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sve ono što ne možete
da prikažete u dve dimenzije
da prikažete u dve dimenzije
14:08
in film and television.
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na filmu i televiziji.
14:10
PP: ♪ Rise above yourself and take control. ♪
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PP: ♪ Izdigni se iznad sebe
i preuzmi kontrolu. ♪
i preuzmi kontrolu. ♪
14:14
George Tsypin: We're looking at New York from a Spider-Man point of view.
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Džordž Cipin: Posmatramo Njujork
iz Spajdermenove perspektive.
iz Spajdermenove perspektive.
14:18
Spider Man is not bound by gravity.
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Spajdermen nije ograničen gravitacijom.
14:20
Manhattan in the show is not bound by gravity either.
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Menhetn pod snegom takođe
nije sputan gravitacijom.
nije sputan gravitacijom.
14:23
PP: ♪ Be yourself and rise above it all. ♪
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PP: ♪ Budi svoj i izdigni se
iznad svega toga. ♪
iznad svega toga. ♪
14:27
Ensemble: ♪ Sock! Pow! ♪
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Ansambl: ♪ Udarac! Eksplozija! ♪
14:31
♪ Slam! Scratch! ♪
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♪ Tras! Škrip! ♪
14:34
Danny Ezralow: I don't want you to even think there's a choreographer.
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Deni Ezralou: Ne želim ni da pomislite
da koreograf uopšte postoji.
da koreograf uopšte postoji.
14:36
It's real, what's happening.
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Sve je stvarno, ono što se dešava.
14:37
I prefer you to see people moving,
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Draže mi je da vidite kako se ljudi kreću,
14:40
and you're going, "Whoa, what was that?"
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i da kažete, "O, šta je to bilo?"
14:42
(Music)
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(Muzika)
14:55
JT: If I give enough movement in the sculpture,
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DžT: Ako u skulpturu
unesem dovoljno pokreta,
unesem dovoljno pokreta,
14:57
and the actor moves their head, you feel like it's alive.
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dok glumac pokreće njenu glavu
imate osećaj da je ona živa.
imate osećaj da je ona živa.
15:00
It's really comic book live. It's a comic book coming alive.
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U stvari to je strip uživo.
To je strip koji je oživljen.
To je strip koji je oživljen.
15:03
(Music)
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(Muzika)
15:10
Bono: They're mythologies.
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Bono: To su mitologije.
15:11
They're modern myths, these comic book heroes.
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To su moderni mitovi, ti strip junaci.
15:15
PP: ♪ They believe. ♪
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PP: ♪ Oni veruju. ♪
15:21
(Screams)
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(Vrisci)
15:25
(Music)
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(Muzika)
15:42
(Applause)
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(Aplauz)
15:45
JT: Ohhhh. What was that?
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DžT: Ohhh. Šta je to bilo?
15:49
Circus, rock 'n' roll, drama.
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Cirkus, rokenrol, drama.
15:51
What the hell are we doing up there on that stage?
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Šta mi to, kog vraga,
radimo gore na toj bini?
radimo gore na toj bini?
15:54
Well, one last story, very quickly.
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Poslednja priča, na brzinu.
15:57
After I was in that village, I crossed the lake,
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Nakon što sam posetila to selo,
prešla sam jezero
prešla sam jezero
16:00
and I saw that the volcano was erupting
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i videla sam vulkan kako eruptira
16:03
on the other side, Gunung Batur,
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1753
na drugoj strani, Gunung Batur,
16:05
and there was a dead volcano next to the live volcano.
280
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a pored živog vulkana
nalazio se ugašen vulkan.
nalazio se ugašen vulkan.
16:08
I didn't think I'd be swallowed by the volcano,
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Nisam mislila da će me vulkan progutati,
16:10
and I am here.
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uostalom, ovde sam.
16:11
But it's very easy to climb up, is it not?
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3937
Ali vrlo je lako uspenjati se, zar ne?
16:15
You hold on to the roots,
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Pridržavate se za korenje,
16:17
you put your foot in the little rocks
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3200
stavljate stopala u male stene,
16:20
and climb up there, and you get to the top,
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penjete se gore i stižete do vrha.
16:23
and I was with a good friend who was an actor,
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Bila sam sa sa svojim
dobrim prijateljem glumcem,
dobrim prijateljem glumcem,
16:25
and we said, "Let's go up there.
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2020
i rekli smo: "Hajde
da se popnemo tamo gore.
da se popnemo tamo gore.
16:27
Let's see if we can come close to the edge
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2048
Hajde da vidimo da li možemo
da se približimo ivici
da se približimo ivici
16:29
of that live volcano."
290
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2136
tog živog vulkana."
16:31
And we climbed up and we got to the very top,
291
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2852
Popeli smo se i stigli do samog vrha,
16:34
and we're on the edge, on this precipice,
292
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2505
i našli se na samoj ivici ambisa,
16:36
Roland disappears into the sulfur smoke
293
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2413
Roland nestaje u sumpornom dimu
16:39
at the volcano at the other end,
294
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na drugom kraju vulkana,
16:41
and I'm up there alone
295
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a ja sam tu gore sama
16:43
on this incredible precipice.
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na toj neverovatnoj litici.
16:45
Did you hear the lyrics?
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1621
Da li ste čuli stihove?
16:47
I'm on the precipice looking down
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Nalazim se na litici i gledam dole
16:49
into a dead volcano to my left.
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na mrtav vulkan s moje leve strane.
16:52
To my right is sheer shale. It's coming off.
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Sa moje desne strane
su sami škriljci. Krune se.
su sami škriljci. Krune se.
16:55
I'm in thongs and sarongs. It was many years ago.
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Nosim japanke i sarong.
Bilo je to pre mnogo godina.
Bilo je to pre mnogo godina.
16:59
And no hiking boots.
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1625
Nemam čizme za planinarenje.
17:01
And he's disappeared, this mad French gypsy actor,
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3959
On je nestao,
taj ludi francuski ciganin glumac,
taj ludi francuski ciganin glumac,
17:05
off in the smoke, and I realize,
304
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3304
nestao u dimu i shvatam da
17:08
I can't go back the way that I've come. I can't.
305
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3928
ne mogu da se vratim putem
kojim sam došla. Ne mogu.
kojim sam došla. Ne mogu.
17:12
So I throw away my camera. I throw away my thongs,
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Bacam svoj fotoaparat.
Izuvam japanke,
Izuvam japanke,
17:17
and I looked at the line straight in front of me,
307
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pogledala sam u liniju
pravo ispred sebe,
pravo ispred sebe,
17:20
and I got down on all fours like a cat,
308
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3634
spustila se na sve četiri poput mačke,
17:24
and I held with my knees to either side
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i držala sam se kolenima za obe strane
17:27
of this line in front of me,
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2393
te linije ispred mene,
17:29
for 30 yards or 30 feet, I don't know.
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nekih 10 ili 30 metara, ne znam.
17:32
The wind was massively blowing,
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Vetar je silovito duvao,
17:35
and the only way I could get to the other side
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i jedini način da stignem
na drugu stranu
na drugu stranu
17:38
was to look at the line straight in front of me.
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bio je da gledam u liniju
pravo ispred sebe.
pravo ispred sebe.
17:41
I know you've all been there.
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Znam da ste svi bili tamo.
17:43
I'm in the crucible right now.
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1973
Ja sam sada u teškom iskušenju.
17:45
It's my trial by fire.
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To je moj test.
17:47
It's my company's trials by fire.
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To je test za moju kompaniju.
17:49
We survive because our theme song is "Rise Above."
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Preživljavamo jer je naša
naslovna pesma "Izdigni se".
naslovna pesma "Izdigni se".
17:53
Boy falls from the sky, rise above.
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Dečak pada sa neba, izdigni se.
17:56
It's right there in the palm of both of our hands,
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Tu je na dlanovima obe naše ruke,
17:59
of all of my company's hands.
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i rukama svih ljudi iz mog tima.
18:00
I have beautiful collaborators, and we as creators
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Imam predivne saradnike
i kao stvaraoci
i kao stvaraoci
18:04
only get there all together.
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2011
to postižemo samo kada smo zajedno.
18:06
I know you understand that.
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Znam da to shvatate.
18:08
And you just stay going forward,
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Samo nastavite da idete napred
18:10
and then you see this extraordinary thing
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i ugledaćete tu neverovatnu stvar
18:13
in front of your eyes.
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pred svojim očima.
18:15
Thank you.
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Hvala vam.
18:16
(Applause)
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(Aplauz)
ABOUT THE SPEAKER
Julie Taymor - Director, designerJulie Taymor is a film, theater and opera director. She is known for lavish movies such as Frida and for her hit Broadway musicals, The Lion King and Spider-Man: Turn Off the Dark.
Why you should listen
Working in musicals, Shakespeare, film and opera, Julie Taymor is a wildly imaginative and provocative director and designer. She is well known for having translated the film The Lion King to Broadway, a still-running show for which she also designed costumes, masks and puppets -- and won two Tony Awards. (She was the first woman to win a Tony for directing a musical.) She has received multiple awards for her work, and given both MacArthur and Guggenheim fellowships.
In 2005, she worked on a lavish production of Mozart's opera, The Magic Flute, and in 2006 she co-wrote a version of the story of Beowulf, Grendel. Meanwhile, she has developed a fascinating career in the movies. She directed Across the Universe, a romp through the music of the Beatles, Titus, a 1999 adaptation of Shakespeare's Titus Andronicus, and the glorious Frida, the 2002 film about Frida Kahlo for which she received an Oscar nomination. More recently, and most dramatically, Taymor collaborated with musicians from U2 on a Broadway stage version of Marvel Studios' Spider-Man.
Julie Taymor | Speaker | TED.com