The clues to a great story | Andrew Stanton | TED

Translator: David J. Kreps Finnemann Reviewer: Morten Kelder Skouboe

A tourist is backpacking

En turist er på rygsæktur

through the highlands of Scotland,

i højlandet i Skotland,

and he stops at a pub to get a drink.

og han stopper ved en pub for at få noget at drikke.

And the only people in there is a bartender

Og de eneste mennesker, der er der, er bartenderen

and an old man nursing a beer.

og en gammel mand, der passer en øl.

And he orders a pint, and they sit in silence for a while.

Han bestiller en øl, og de sidder i stilhed i noget tid.

And suddenly the old man turns to him and goes,

Pludselig vender den gamle mand sig mod ham og siger,

"You see this bar?

"Kan du se denne bar?

I built this bar with my bare hands

Jeg har bygget denne bar med de bare næver

from the finest wood in the county.

af det flotteste træ i landet.

Gave it more love and care than my own child.

Jeg gav den mere kærlighed, end jeg gav mit eget barn.

But do they call me MacGregor the bar builder? No."

Men kalder de mig MacGregor Barbyggeren? Nej."

Points out the window.

Han peger ud ad vinduet.

"You see that stone wall out there?

"Kan du se den stenmur derude?

I built that stone wall with my bare hands.

Jeg har bygget den stenmur med de bare næver.

Found every stone, placed them just so through the rain and the cold.

Fandt hver sten, placerede dem perfekt i regn og kulde.

But do they call me MacGregor the stone wall builder? No."

Men kalder de mig MacGregor Stenmursbyggeren? Nej.

Points out the window.

Han peger ud ad vinduet.

"You see that pier on the lake out there?

"Kan du se den skibsbro derude ved søen?

I built that pier with my bare hands.

Jeg har bygget den skibsbro med de bare næver.

Drove the pilings against the tide of the sand, plank by plank.

Jeg satte pæleværket i på trods af tidevandet og sandet, pæl for pæl.

But do they call me MacGregor the pier builder? No.

Men kalder de mig MacGregor Pæleværkbyggeren? Nej.

But you fuck one goat ... "

Men knepper man én ged..."

(Laughter)

(Latter)

Storytelling --

Fortællekunst --

(Laughter)

(Latter)

is joke telling.

er vittighedsfortælling.

It's knowing your punchline,

Det er at kende sin pointe,

your ending,

sin slutning,

knowing that everything you're saying, from the first sentence to the last,

at vide alt man vil sige, fra den første sætning til den sidste,

is leading to a singular goal,

leder en til et bestemt mål

and ideally confirming some truth

og ideelt set bekræfte en sandhed,

that deepens our understandings

der øger ens forståelse

of who we are as human beings.

af, hvem vi er som mennesker.

We all love stories.

Vi elsker alle fortællinger.

We're born for them.

Vi er født til dem.

Stories affirm who we are.

Fortællinger bekræfter, hvem vi er.

We all want affirmations that our lives have meaning.

Vi vil alle have bekræftelse i, at der er en mening med vores liv.

And nothing does a greater affirmation

Og der er ikke noget, der giver en større bekræftelse

than when we connect through stories.

end, når vi forbinder os via en fortælling.

It can cross the barriers of time,

Det kan krydse tidsbarrierer,

past, present and future,

fortid, nutid og fremtid,

and allow us to experience

og tillade os at opleve

the similarities between ourselves

lighederne mellem os selv

and through others, real and imagined.

og gennem andre, virkelige og fiktive.

The children's television host Mr. Rogers

Børne-tv-værten Mr. Rogers

always carried in his wallet

havde altid i sin pung

a quote from a social worker

et citat fra en socialrådgiver,

that said, "Frankly, there isn't anyone you couldn't learn to love

der sagde, "Faktisk, er der ikke nogen, du ikke kunne lære at elske,

once you've heard their story."

når du først har hørt deres historie."

And the way I like to interpret that

Og måden, hvorpå jeg gerne vil fortolke det,

is probably the greatest story commandment,

er muligvis den vigtigste underdel i en historie,

which is "Make me care" --

som er "Fang mig" --

please, emotionally,

vær så venlig, emotionelt,

intellectually, aesthetically,

intellektuelt, æstetisk,

just make me care.

at få mig til at bekymre mig.

We all know what it's like to not care.

Vi ved alle, hvordan det er ikke at bekymre sig om noget.

You've gone through hundreds of TV channels,

Man har kigget gennem hundredvis af tv-kanaler,

just switching channel after channel,

bare zappet fra kanal til kanal,

and then suddenly you actually stop on one.

og pludselig stopper man ved én.

It's already halfway over,

Det er allerede halvvejs forbi,

but something's caught you and you're drawn in and you care.

men der er noget, der har fanget en, og man bliver draget, og man bekymrer sig.

That's not by chance,

Det er ikke tilfældigt,

that's by design.

det er med vilje.

So it got me thinking, what if I told you my history was story,

Så det fik mig til at tænke, hvad hvis jeg fortalte jer, at min historie er fortælling,

how I was born for it,

hvordan jeg blev født til det,

how I learned along the way this subject matter?

hvordan jeg hen ad vejen lærte om dette emne?

And to make it more interesting,

Og for at gøre det mere interessant,

we'll start from the ending

starter vi ved slutningen

and we'll go to the beginning.

og fortsætter til begyndelsen.

And so if I were going to give you the ending of this story,

Så hvis jeg skal give jer slutningen af denne historie,

it would go something like this:

ville det være noget i denne retning:

And that's what ultimately led me

Og det er, hvad der i sidste ende førte mig

to speaking to you here at TED

til at tale foran jer her ved TED

about story.

om fortællinger.

And the most current story lesson that I've had

Og den mest aktuelle lektion om fortælling, jeg har fået,

was completing the film I've just done

var at færdiggøre en film, jeg har lavet

this year in 2012.

i år, i 2012.

The film is "John Carter." It's based on a book called "The Princess of Mars,"

Filmen er "John Carter". Den er baseret på en bog, der hedder "[A] Princess of Mars",

which was written by Edgar Rice Burroughs.

der er skrevet af Edgar Rice Burroughs.

And Edgar Rice Burroughs actually put himself

Og Edgar Rice Burroughs indsatte faktisk sig selv

as a character inside this movie, and as the narrator.

som karakter i denne film, og som fortælleren.

And he's summoned by his rich uncle, John Carter, to his mansion

Og han bliver tilkaldt af sin rige onkel, John Carter, til hans palæ

with a telegram saying, "See me at once."

med et telegram, hvor der står, "Kom med det samme."

But once he gets there,

Men da han når frem,

he's found out that his uncle has mysteriously passed away

finder han ud af, at hans onkel på mystisk vis er død

and been entombed in a mausoleum on the property.

og er blevet begravet i et mausoleum på grunden.

(Video) Butler: You won't find a keyhole.

(Video) Butler: Du finder ikke et nøglehul.

Thing only opens from the inside.

Den kan kun åbnes indefra.

He insisted,

Han insisterede,

no embalming, no open coffin,

ingen balsamering, ingen åben kiste,

no funeral.

ingen begravelse.

You don't acquire the kind of wealth your uncle commanded

Man tilegner sig ikke den rigdom, din onkel havde

by being like the rest of us, huh?

ved at være ligesom resten af os, vel?

Come, let's go inside.

Kom, lad os gå indenfor.

AS: What this scene is doing, and it did in the book,

AS: Hvad denne scene gør, og den gjorde det i bogen,

is it's fundamentally making a promise.

er, at den grundlæggende giver et løfte.

It's making a promise to you

Den giver en et løfte om,

that this story will lead somewhere that's worth your time.

at denne historie vil føre én til et sted, der er umagen værd.

And that's what all good stories should do at the beginning, is they should give you a promise.

Og det er, hvad alle gode historier bør gøre i starten, de bør give én et løfte.

You could do it an infinite amount of ways.

Det kan gøres på et uendeligt antal måder.

Sometimes it's as simple as "Once upon a time ... "

Nogen gange er det så simpelt som "Der var engang ..."

These Carter books always had Edgar Rice Burroughs as a narrator in it.

Disse Carter bøger havde altid Edgar Rice Burroughs som fortæller.

And I always thought it was such a fantastic device.

Og jeg synes altid, det var sådan en fantastisk opfindelse.

It's like a guy inviting you around the campfire,

Det er ligesom fyren, der inviterer én til lejrbålet,

or somebody in a bar saying, "Here, let me tell you a story.

eller nogen i en bar, der siger "Her, lad mig fortælle dig en fortælling.

It didn't happen to me, it happened to somebody else,

Det skete ikke for mig, det skete for en anden,

but it's going to be worth your time."

men det bliver umagen værd."

A well told promise

Et godt fortalt løfte

is like a pebble being pulled back in a slingshot

er ligesom en sten, der bliver spændt i en slangebøsse

and propels you forward through the story

og fører en videre gennem historien

to the end.

til slutningen.

In 2008,

I 2008

I pushed all the theories that I had on story at the time

drev jeg alle teorier, jeg havde om fortællinger på det tidspunkt,

to the limits of my understanding on this project.

til grænserne af min forståelse omkring projektet.

(Video) (Mechanical Sounds)

(Video) (Mekaniske Lyde)

♫ And that is all ♫

♫ Og det er alt ♫

♫ that love's about ♫

♫ som kærlighed handler om ♫

♫ And we'll recall ♫

♫ Og vi husker ♫

♫ when time runs out ♫

♫ når tiden rinder ud ♫

♫ That it only ♫

♫ At det kun ♫

(Laughter)

(Latter)

AS: Storytelling without dialogue.

AS: Fortællinger uden dialog.

It's the purest form of cinematic storytelling.

Det er den reneste form for filmiske fortællinger.

It's the most inclusive approach you can take.

Det er den mest inkluderende vinkel, man kan tage.

It confirmed something I really had a hunch on,

Det bekræftede noget, jeg virkelig havde en fornemmelse omkring,

is that the audience

det at publikum

actually wants to work for their meal.

faktisk vil arbejde for maden.

They just don't want to know that they're doing that.

De vil bare ikke vide, at de gør det.

That's your job as a storyteller,

Det er ens job som fortæller,

is to hide the fact

at skjule kendsgerningen,

that you're making them work for their meal.

at man lader dem arbejde for maden.

We're born problem solvers.

Vi er fødte problemknusere.

We're compelled to deduce

Vi føler os draget til at udlede

and to deduct,

og fratrække,

because that's what we do in real life.

fordi det er, hvad vi gør i det virkelige liv.

It's this well-organized absence of information

Det er dette velorganiserede fravær af information,

that draws us in.

der tiltrækker os.

There's a reason that we're all attracted to an infant or a puppy.

Der er en grund til, at vi alle er tiltrukket af et spædbarn eller en hundehvalp.

It's not just that they're damn cute;

Det er ikke kun det, at de er forbandet nuttede;

it's because they can't completely express

det er fordi, de ikke helt kan udtrykke,

what they're thinking and what their intentions are.

hvad de tænker, og hvad deres intentioner er.

And it's like a magnet.

Og det er ligesom en magnet.

We can't stop ourselves

Vi kan ikke stoppe os selv

from wanting to complete the sentence and fill it in.

fra at ville færdiggøre sætningen og udfylde den.

I first started

Jeg begyndte

really understanding this storytelling device

egentlig først at forstå denne fortællermekanisme,

when I was writing with Bob Peterson on "Finding Nemo."

da jeg skrev sammen med Bob Peterson på "Find Nemo."

And we would call this the unifying theory of two plus two.

Og vi kunne kalde dette den samlende teori om to plus to.

Make the audience put things together.

Få publikum til at sætte tingene sammen.

Don't give them four,

Giv dem ikke fire,

give them two plus two.

giv dem to plus to.

The elements you provide and the order you place them in

Elementerne, man giver, og rækkefølgen man placerer dem i,

is crucial to whether you succeed or fail at engaging the audience.

er altafgørende for, om det lykkes eller mislykkes at engagere publikum.

Editors and screenwriters have known this all along.

Redaktører og manuskriptforfattere har altid vidst dette.

It's the invisible application

Det er den usynlige applikation,

that holds our attention to story.

der fastholder vores opmærksomhed til historien.

I don't mean to make it sound

Jeg vil ikke få det til at lyde,

like this is an actual exact science, it's not.

som om det her er en nøjagtig videnskab, det er det ikke.

That's what's so special about stories,

Det er, hvad der er så specielt omkring fortællinger,

they're not a widget, they aren't exact.

de er ikke en widget, de er ikke nøjagtige.

Stories are inevitable, if they're good,

Fortællinger er uundgåelige, hvis de er gode,

but they're not predictable.

men de er ikke forudsigelige.

I took a seminar in this year

Jeg tog et seminar i år

with an acting teacher named Judith Weston.

hos en lærer, der er skuespiller, Judith Weston.

And I learned a key insight to character.

Og jeg fik en vigtig indsigt i karakter.

She believed that all well-drawn characters

Hun mener, at alle velskrevne karakterer

have a spine.

har en rygrad.

And the idea is that the character has an inner motor,

Og ideen er, at karakteren har en indre motor,

a dominant, unconscious goal that they're striving for,

et fremtrædende, ubevidst mål, som de stræber efter,

an itch that they can't scratch.

en uimodståelig trang.

She gave a wonderful example of Michael Corleone,

Hun gav et vidunderligt eksempel af Michael Corleone,

Al Pacino's character in "The Godfather,"

Al Pacinos karakter i "The Godfather",

and that probably his spine

og hans rygrad var formentlig

was to please his father.

at gøre sin far tilpas.

And it's something that always drove all his choices.

Og det var noget, der altid drev hans valg.

Even after his father died,

Selv efter hans far døde,

he was still trying to scratch that itch.

havde han stadig denne uimodståelige trang.

I took to this like a duck to water.

Jeg havde det som en fisk i vandet.

Wall-E's was to find the beauty.

Wall-E's var at finde skønhed.

Marlin's, the father in "Finding Nemo,"

Marlins, faderen i "Find Nemo,"

was to prevent harm.

var at forhindre fortræd.

And Woody's was to do what was best for his child.

Og Woodys var at gøre, hvad der var bedst for sit barn.

And these spines don't always drive you to make the best choices.

Og disse rygrader driver ikke altid én til at træffe de bedste beslutninger.

Sometimes you can make some horrible choices with them.

Nogle gange kan de få én til at træffe nogle forfærdelig valg.

I'm really blessed to be a parent,

Jeg er virkelig velsignet ved at være forælder

and watching my children grow, I really firmly believe

og ved at se mine børn vokse, tror jeg virkelig,

that you're born with a temperament and you're wired a certain way,

at man er født med et temperament, og at man er skruet sammen på en bestemt måde,

and you don't have any say about it,

og at man ikke kan bestemme over det selv,

and there's no changing it.

og at man ikke kan ændre det.

All you can do is learn to recognize it

Det eneste, man kan gøre, er at lære at erkende det

and own it.

og indrømme det.

And some of us are born with temperaments that are positive,

Nogle af os er født med temperament, der er positive,

some are negative.

nogle er negative.

But a major threshold is passed

Men en stor grænse bliver overskredet,

when you mature enough

når man udvikler sig nok

to acknowledge what drives you

til at anerkende, hvad der driver en

and to take the wheel and steer it.

og til at tage styringen.

As parents, you're always learning who your children are.

Som forælder, lærer man hele tiden, hvem ens børn er.

They're learning who they are.

De lærer, hvem de er.

And you're still learning who you are.

Og man lærer stadig, hvem man selv er.

So we're all learning all the time.

Så vi lærer hele tiden.

And that's why change is fundamental in story.

Og derfor er forandring fundamental i en fortælling.

If things go static, stories die,

Hvis tingene bliver statiske, dør fortællingen,

because life is never static.

fordi livet aldrig er statisk.

In 1998,

I 1998

I had finished writing "Toy Story" and "A Bug's Life"

blev jeg færdig med at skrive "Toy Story" og "Græsrødderne,"

and I was completely hooked on screenwriting.

og jeg var helt vild med at være manuskriptforfatter.

So I wanted to become much better at it and learn anything I could.

Så jeg havde lyst til at blive meget bedre til det og lære alt, jeg kunne.

So I researched everything I possibly could.

Så jeg undersøgte alt, jeg kunne komme til.

And I finally came across this fantastic quote

Og til sidst fandt jeg dette fantastiske citat

by a British playwright, William Archer:

af en britisk skuespilforfatter, William Archer:

"Drama is anticipation

"Drama er forventning

mingled with uncertainty."

blandet med usikkerhed.

It's an incredibly insightful definition.

Det er en utrolig indsigtsfuld definition.

When you're telling a story,

Når man fortæller en fortælling,

have you constructed anticipation?

har man så konstrueret forventning?

In the short-term, have you made me want to know

På kort sigt har du fået mig til at ville vide,

what will happen next?

hvad der vil ske dernæst?

But more importantly,

Men vigtigere,

have you made me want to know

har du fået mig til at ville vide,

how it will all conclude in the long-term?

hvordan det alt sammen vil blive afrundet på lang sigt?

Have you constructed honest conflicts

Har du konstrueret ærlige konflikter

with truth that creates doubt

med sandheden, der frembringer tvivl

in what the outcome might be?

i, hvad udfaldet mon bliver?

An example would be in "Finding Nemo,"

Et eksempel ville være i "Find Nemo,"

in the short tension, you were always worried,

i den korte spænding, var man altid bekymret,

would Dory's short-term memory

ville Dory's korttidshukommelse

make her forget whatever she was being told by Marlin.

få hende til at glemme, hvad hun fik at vide af Marlin.

But under that was this global tension

Men under det, var der denne globale spænding,

of will we ever find Nemo

om vi nogensinde ville finde Nemo

in this huge, vast ocean?

i dette kæmpestore, vidtstrakte ocean?

In our earliest days at Pixar,

I vores første dage hos Pixar,

before we truly understood the invisible workings of story,

før vi forstod de usynlige mekanismer af fortællinger,

we were simply a group of guys just going on our gut, going on our instincts.

var vi kun en gruppe gutter, der bare gik efter vores mavefornemmelse, vores instinkt.

And it's interesting to see

Og det er interessant at se,

how that led us places

hvordan det ledte os hen til steder,

that were actually pretty good.

der faktisk var ret gode.

You've got to remember that in this time of year,

Man bliver nødt til at huske, at i denne tid,

1993,

1993,

what was considered a successful animated picture

var de succesfulde animationsfilm

was "The Little Mermaid," "Beauty and the Beast,"

film som "Den Lille Havfrue", "Skønheden og Udyret",

"Aladdin," "Lion King."

"Aladdin", "Løvernes Konge."

So when we pitched "Toy Story" to Tom Hanks for the first time,

Så da vi lavede vores oplæg til "Toy Story" til Tom Hanks for første gang,

he walked in and he said,

kom han ind og sagde,

"You don't want me to sing, do you?"

"I vil ikke have mig til at synge, vil I?"

And I thought that epitomized perfectly

Og jeg syntes, det perfekt fangede,

what everybody thought animation had to be at the time.

hvad alle troede, animation skulle være på det tidspunkt.

But we really wanted to prove

Men vi ville virkelig gerne bevise,

that you could tell stories completely different in animation.

at man kunne fortælle fortællinger på en helt anden måde med animation.

We didn't have any influence then,

Vi havde ikke nogen indflydelse dengang,

so we had a little secret list of rules

så vi havde en lille hemmelig liste med regler,

that we kept to ourselves.

som vi holdt for os selv.

And they were: No songs,

Og de var: Ingen sange,

no "I want" moment,

ikke noget "Jeg vil have" øjeblik,

no happy village,

ingen glad landsby,

no love story.

ingen kærlighedshistorie.

And the irony is that, in the first year,

Og ironien er, at i det første år,

our story was not working at all

fungerede vores fortælling slet ikke,

and Disney was panicking.

og Disney begyndte at panikke.

So they privately got advice

Så de fik råd, under fire øjne,

from a famous lyricist, who I won't name,

fra en kendt sangskriver, som jeg ikke vil navngive,

and he faxed them some suggestions.

og han faxede nogle forslag til dem.

And we got a hold of that fax.

Og vi så den fax.

And the fax said,

Og i faxen stod der,

there should be songs,

at der skulle være sange,

there should be an "I want" song,

der skulle være en "Jeg vil have" sang,

there should be a happy village song,

der skulle være en glad landsby sang,

there should be a love story

der skulle være en kærlighedshistorie,

and there should be a villain.

og der skulle være en skurk.

And thank goodness

Og gudskelov

we were just too young, rebellious and contrarian at the time.

var vi bare for unge, rebelske og modsatte på det tidspunkt.

That just gave us more determination

Det gav os bare endnu mere beslutsomhed

to prove that you could build a better story.

til at bevise, at man kunne bygge en bedre fortælling.

And a year after that, we did conquer it.

Og et år efter det, overvandt vi det.

And it just went to prove

Og det beviste bare,

that storytelling has guidelines,

at fortællinger har retningslinjer,

not hard, fast rules.

ikke hårde, faste regler.

Another fundamental thing we learned

En anden fundamental ting, vi lærte,

was about liking your main character.

var omkring at elske ens hovedperson.

And we had naively thought,

Og vi troede naivt,

well Woody in "Toy Story" has to become selfless at the end,

at jamen Woody i "Toy Story" skal blive uselvisk i slutningen,

so you've got to start from someplace.

så man skal begynde et sted.

So let's make him selfish. And this is what you get.

Så lad os gøre ham selvisk. Og dette er, hvad man får.

(Voice Over) Woody: What do you think you're doing?

(Indtaling) Woody: Hvad tror du, du laver?

Off the bed.

Ned fra sengen.

Hey, off the bed!

Hey, ned fra sengen!

Mr. Potato Head: You going to make us, Woody?

Mr. Potato Head: Får du os til det, Woody?

Woody: No, he is.

Woody: Nej, det gør han.

Slinky? Slink ... Slinky!

Slinky? Slink... Slinky!

Get up here and do your job.

Kom herop og gør dit arbejde.

Are you deaf?

Er du døv?

I said, take care of them.

Jeg sagde, tag dig af dem.

Slinky: I'm sorry, Woody,

Slinky: Jeg er ked af det, Woody,

but I have to agree with them.

men jeg er enig med dem.

I don't think what you did was right.

Jeg synes ikke, det, du gjorde, var i orden.

Woody: What? Am I hearing correctly?

Woody: Hvad? Hører jeg rigtigt?

You don't think I was right?

Du synes ikke, jeg havde ret?

Who said your job was to think, Spring Wiener?

Hvem sagde, dit arbejde var at tænke, fjederhoved?

AS: So how do you make a selfish character likable?

AS: Så hvordan gør man en selvisk karakter sympatisk?

We realized, you can make him kind,

Vi indså, at man kan gøre ham venlig,

generous, funny, considerate,

generøs, sjov, betænksom,

as long as one condition is met for him,

så længe, at ét vilkår er imødekommet for ham,

is that he stays the top toy.

at han forbliver det bedste legetøj.

And that's what it really is,

Og det er, hvad det virkelig er,

is that we all live life conditionally.

at vi alle lever livet med forbehold.

We're all willing to play by the rules and follow things along,

Vi er alle villige til at lege efter reglerne og følge med tingene,

as long as certain conditions are met.

så længe, at visse krav bliver imødekommet.

After that, all bets are off.

Derefter, er der ikke noget, der er sikkert.

And before I'd even decided to make storytelling my career,

Og før jeg overhovedet havde overvejet, at min karriere skulle være fortællinger,

I can now see key things that happened in my youth

kan jeg nu se nøglehændelser, der skete i min barndom,

that really sort of opened my eyes

som virkelig åbnede mine øjne

to certain things about story.

for nogle ting omkring fortællinger.

In 1986, I truly understood the notion

I 1986 forstod jeg virkelig ideen

of story having a theme.

af, at fortællinger havde et tema.

And that was the year that they restored and re-released

Og det var det år, de restaurerede og genudgav

"Lawrence of Arabia."

"Lawrence af Arabien."

And I saw that thing seven times in one month.

Og jeg så den film syv gange på en måned.

I couldn't get enough of it.

Jeg kunne ikke få nok af den.

I could just tell there was a grand design under it --

Jeg kunne bare fornemme, der var en større plan --

in every shot, every scene, every line.

i hver optagelse, hver scene, hver replik.

Yet, on the surface it just seemed

Men på overfladen virkede det som om,

to be depicting his historical lineage

det gengav hans historiske afstamning

of what went on.

af det, der foregik.

Yet, there was something more being said. What exactly was it?

Alligevel kunne der siges mere. Hvad var det præcist?

And it wasn't until, on one of my later viewings,

Og det var ikke indtil, ved et af mine senere gensyn,

that the veil was lifted

at det slør blev løftet,

and it was in a scene where he's walked across the Sinai Desert

og det var i en scene, hvor han er gået hen over Sinaiørkenen,,

and he's reached the Suez Canal,

og han er nået til Suezkanalen,

and I suddenly got it.

og jeg forstod det pludseligt.

(Video) Boy: Hey! Hey! Hey! Hey!

(Video) Dreng: Hey! Hey! Hey! Hey!

Cyclist: Who are you?

Motorcyklist: Hvem er du?

Who are you?

Hvem er du?

AS: That was the theme: Who are you?

AS: Det var temaet: Hvem er du?

Here were all these seemingly disparate

Her var alle disse tilsyneladende forskellige

events and dialogues

begivenheder og dialoger,

that just were chronologically telling the history of him,

der kronologisk bare fortalte historien om ham,

but underneath it was a constant,

men under det var en konstant,

a guideline, a road map.

en retningslinje, et vejkort.

Everything Lawrence did in that movie

Alt, Lawrence gjorde i den film,

was an attempt for him to figure out where his place was in the world.

var et forsøg fra ham på at finde ud af, hvor hans plads i verden var.

A strong theme is always running through

Et stærkt tema er altid gennemgående

a well-told story.

i en godt fortalt fortælling.

When I was five,

Da jeg var fem,

I was introduced to possibly the most major ingredient

blev jeg introduceret til måske den største ingrediens,

that I feel a story should have,

som jeg føler en fortælling skal have,

but is rarely invoked.

men som sjældent bliver brugt.

And this is what my mother took me to when I was five.

Og dette er, hvad min moder tog mig med til at se, da jeg var fem.

(Video) Thumper: Come on. It's all right.

(Video) Thumper: Kom nu. Det er i orden.

Look.

Se.

The water's stiff.

Vandet er stift.

Bambi: Yippee!

Bambi: Yippee!

Thumper: Some fun,

Thumper: Ret sjovt,

huh, Bambi?

hva' Bambi?

Come on. Get up.

Kom nu. Rejs dig op.

Like this.

Sådan her.

Ha ha. No, no, no.

Ha ha. Nej, nej, nej.

AS: I walked out of there

AS: Jeg gik ud derfra

wide-eyed with wonder.

med øjnene store af beundring.

And that's what I think the magic ingredient is,

Og det er, hvad jeg mener den magiske ingrediens er,

the secret sauce,

den hemmelige sauce,

is can you invoke wonder.

er, at man kan indgyde forundring.

Wonder is honest, it's completely innocent.

Forundring er ærligt, det er fuldstændig uskyldigt.

It can't be artificially evoked.

Det kan ikke fremkaldes kunstigt.

For me, there's no greater ability

For mig er der ikke nogen større evne

than the gift of another human being giving you that feeling --

end evnen til, at et andet menneske kan give en den følelse --

to hold them still just for a brief moment in their day

at kunne stoppe dem et kort øjeblik i løbet af deres dag

and have them surrender to wonder.

og få dem til at overgive sig til forundring.

When it's tapped, the affirmation of being alive,

Når det bliver udnyttet, bekræftelsen af at være i live,

it reaches you almost to a cellular level.

det kan næsten nå ind til en på celleniveau.

And when an artist does that to another artist,

Og når en kunstner gør det ved en anden kunstner,

it's like you're compelled to pass it on.

er det som om man er tvunget til at give det videre.

It's like a dormant command

Det er som en latent kommando,

that suddenly is activated in you, like a call to Devil's Tower.

der pludselig bliver aktiveret inden i en, som et kald til Devil's Tower.

Do unto others what's been done to you.

Gør mod andre, som er blevet gjort mod dig selv.

The best stories infuse wonder.

De bedste fortællinger indgyder forundring.

When I was four years old,

Da jeg var fire år gammel,

I have a vivid memory

har jeg et levende minde

of finding two pinpoint scars on my ankle

af at finde to prik-lignende ar på min ankel

and asking my dad what they were.

og spurgte min far, hvad de var.

And he said I had a matching pair like that on my head,

Og han sagde, at jeg havde et lignende sæt på mit hoved,

but I couldn't see them because of my hair.

men at jeg ikke kunne se det på grund af mit hår.

And he explained that when I was born,

Og han forklarede, at da jeg blev født,

I was born premature,

blev jeg født for tidligt,

that I came out much too early,

at jeg kom alt for tidligt ud,

and I wasn't fully baked;

og at jeg ikke var bagt helt færdig;

I was very, very sick.

jeg var meget, meget syg.

And when the doctor took a look at this yellow kid with black teeth,

Og da lægen kiggede på denne gule dreng, med sorte tænder

he looked straight at my mom and said,

kiggede han direkte på min mor og sagde,

"He's not going to live."

"Han kommer ikke til at overleve".

And I was in the hospital for months.

Og jeg var i det sygehus i månedsvis.

And many blood transfusions later,

Og mange blodtransfusioner senere,

I lived,

overlevede jeg,

and that made me special.

og det gjorde mig speciel.

I don't know if I really believe that.

Og jeg ved ikke, om jeg egentlig tror på det.

I don't know if my parents really believe that,

Jeg ved ikke, om mine forældre rigtig tror på det,

but I didn't want to prove them wrong.

men jeg ville ikke bevise, at de tog fejl.

Whatever I ended up being good at,

Hvad jeg end ville ende med at blive god til,

I would strive to be worthy of the second chance I was given.

ville jeg stræbe efter at være værdig til den ekstra chance, jeg fik.

(Video) (Crying)

(Video) (Gråd)

Marlin: There, there, there.

Marlin: Så, så, så.

It's okay, daddy's here.

Det er okay, far er her.

Daddy's got you.

Far har dig.

I promise,

Jeg lover,

I will never let anything happen to you, Nemo.

at jeg aldrig vil lade noget dårligt overkomme dig, Nemo.

AS: And that's the first story lesson I ever learned.

AS: Og det er den første fortælling, jeg nogensinde lærte.

Use what you know. Draw from it.

Brug hvad du har lært. Træk på det.

It doesn't always mean plot or fact.

Det betyder ikke altid, at det er et plot eller et faktum.

It means capturing a truth from your experiencing it,

Det betyder, at man fanger en sandhed ved at opleve det,

expressing values you personally feel

at udtrykke personlige værdier, man føler

deep down in your core.

dybt i ens indre.

And that's what ultimately led me to speaking to you

Og det var, hvad der i sidste ende førte mig til at tale til jer

here at TEDTalk today.

her ved TEDTalk i dag.

Thank you.

Tak.

(Applause)

(Bifald)