Shekhar Kapur: We are the stories we tell ourselves

Translator: Ann Christine Foverskov Reviewer: mie broens

So, I was just asked to go and shoot this film called "Elizabeth."

Jeg blev bedt om at skyde filmen kaldet "Elizabeth".

And we're all talking about this great English icon and saying,

Og vi taler allesammen om dette mægtige engelske ikon og siger:

"She's a fantastic woman, she does everything.

"Hun er en fantastisk kvinde. Hun gør alt.

How are we going to introduce her?"

Hvordan skal vi introducere hende?"

So we went around the table with the studio and the producers and the writer,

Så vi gik bordet rundt i studiet med producenterne og forfatteren,

and they came to me and said, "Shekhar, what do you think?"

og de kom til mig og spurgte: "Shekhar, hvad synes du?"

And I said, "I think she's dancing."

Og jeg sagde: "Jeg tror hun danser."

And I could see everybody looked at me,

Og jeg kunne se, at alle kiggede på mig,

somebody said, "Bollywood."

en eller anden sagde "Bollywood"

The other said, "How much did we hire him for?"

En anden sagde "Hvor meget hyrede vi ham for?"

And the third said, "Let's find another director."

Og den tredie sagde: "Lad os finde en anden instruktør".

I thought I had better change.

Jeg tænkte, at jeg hellere måtte ændre det.

So we had a lot of discussion on how to introduce Elizabeth,

Så vi havde en masse diskussion om, hvordan Elizabeth skulle introduceres,

and I said, "OK, maybe I am too Bollywood.

og jeg sagde, okay, måske er jeg for Bollywood agtig.

Maybe Elizabeth, this great icon, dancing?

Måske danser dette mægtige ikon Elizabeth?

What are you talking about?"

Hvad taler du om?

So I rethought the whole thing,

Så jeg tænkte det hele igennem igen

and then we all came to a consensus.

og så kom vi alle til enighed.

And here was the introduction of this

Og her var introduktionen af dette

great British icon called "Elizabeth."

mægtige britiske ikon, der hedder "Elizabeth".

Leicester: May I join you, my lady?

Leicester: Må jeg slutte mig til Dem, min frue?

Elizabeth: If it please you, sir.

Elizabeth: Hvis det behager Dem hr.

(Music)

(Musik)

Shekhar Kapur: So she was dancing.

Shekhar Kapur: "Så hun dansede altså."

So how many people who saw the film did not get

Så hvor mange af jer, der så filmen fik ikke fat i,

that here was a woman in love,

at her var tale om en forelsket kvinde,

that she was completely innocent

at hun var komplet uskyldig,

and saw great joy in her life, and she was youthful?

at hun oplevede stor glæde i sit liv og at hun var ungdommelig?

And how many of you did not get that?

Og hvor mange af jer fik ikke fat i det?

That's the power of visual storytelling,

Det er den visuelle historiefortællings kraft.

that's the power of dance, that's the power of music:

Det er dansens kraft. Det er musikkens kraft.

the power of not knowing.

Det er uvidenhedens kraft.

When I go out to direct a film,

Når jeg skal ud og instruere en film,

every day we prepare too much, we think too much.

hver dag forbereder vi for meget, vi tænker for meget.

Knowledge becomes a weight upon wisdom.

Viden kommer til at vægte mere end visdom.

You know, simple words lost

Du ved, simple ord bliver tabt

in the quicksand of experience.

i erfaringers kviksand.

So I come up, and I say,

Så jeg kommer og siger:

"What am I going to do today?" I'm not going to do what I planned to do,

"Hvad skal jeg lave i dag?" Jeg skal ikke lave det, jeg har planlagt at lave,

and I put myself into absolute panic.

og så sætter jeg mig selv i en tilstand af gennemgribende panik.

It's my one way of getting rid of my mind,

Det er min måde at slippe sindet på,

getting rid of this mind that says,

slippe det her sind, der siger:

"Hey, you know what you're doing. You know exactly what you're doing.

"Hey, du ved hvad du laver. Du ved præcis, hvad du laver.

You're a director, you've done it for years."

Du er en instruktør, du har lavet det i årevis".

So I've got to get there

Så jeg er nødt til at komme derud

and be in complete panic.

og være fuldstændig panisk.

It's a symbolic gesture. I tear up the script,

Så det er en symbolsk handling. Jeg river manuskriptet i stykker.

I go and I panic myself, I get scared.

Jeg sætter mig selv i panik. Jeg bliver bange.

I'm doing it right now; you can watch me. I'm getting nervous,

Jeg gør det lige nu. I kan se det. Jeg bliver nervøs.

I don't know what to say, I don't know what I'm doing, I don't want to go there.

Jeg ved ikke, hvad jeg skal sige. Jeg ved ikke hvad jeg gør. Jeg har ikke lyst til at gå den vej.

And as I go there, of course, my A.D. says,

Og mens jeg følger den sti, siger min AD-er selvfølgelig:

"You know what you're going to do, sir." I say, "Of course I do."

"Du ved, hvad der skal gøres hr.". Jeg siger: "Selvfølgelig gør jeg det".

And the studio executives, they would say,

Og studiets ledelse ville sige:

"Hey, look at Shekhar. He's so prepared."

"Hey, se lige Shekhar. Han er så forberedt".

And inside I've just been listening to Nusrat Fateh Ali Khan

Og indeni har jeg bare lyttet til Nusrat Fateh Ali Khan

because he's chaotic.

fordi han er kaotisk.

I'm allowing myself to go into chaos

Jeg tillader mig selv at gå ind i kaos

because out of chaos, I'm hoping some moments of truth will come.

fordi ud af kaoset håber jeg, at der vil komme øjeblikke med sandhed.

All preparation is preparation.

Al forberedelse er forberedelse.

I don't even know if it's honest.

Jeg ved ikke engang om det er ærligt.

I don't even know if it's truthful.

Jeg ved ikke engang om det er sandt.

The truth of it all comes on the moment, organically,

Sandheden af det hele kommer i selve øjeblikket, organisk,

and if you get five great moments

og hvis du får fem store øjeblikke

of great, organic stuff

med store, organiske ting

in your storytelling, in your film,

i din fortælling, i din film,

your film, audiences will get it.

vil dit filmpublikum forstå det.

So I'm looking for those moments, and I'm standing there

Så jeg leder efter disse øjeblikke, og jeg står der

and saying, "I don't know what to say."

og siger: "Jeg ved ikke hvad jeg skal sige".

So, ultimately, everybody's looking at you,

Så til sidst kigger alle på en,

200 people at seven in the morning

200 mennesker kl. 7 om morgenen,

who got there at quarter to seven, and you arrived at seven,

de ankom kvart i syv og du kl. syv.

and everybody's saying,

og alle siger:

"Hey. What's the first thing? What's going to happen?"

"Hey. Hvad er det første? Hvad skal der ske?"

And you put yourself into a state of panic

Og du sætter dig selv i en tilstand af panik

where you don't know, and so you don't know.

hvor du ikke ved det, og så ved du det ikke.

And so, because you don't know,

Og fordi du ikke ved det,

you're praying to the universe because you're praying to the universe

beder du til universet, fordi du beder til universet

that something -- I'm going to try and access the universe

om noget - Jeg vil prøve at få tilgang til universet

the way Einstein -- say a prayer --

måden Einstein - bad en bøn -

accessed his equations,

tilgik - sine ligninger -

the same source. I'm looking for the same source

den samme kilde - jeg leder efter den samme kilde

because creativity comes from absolutely the same source

fordi kreativitet kommer fra den helt samme kilde

that you meditate somewhere outside yourself,

hvor du mediterer et eller andet sted udenfor dig selv,

outside the universe.

undenfor universet.

You're looking for something that comes and hits you.

Du leder efter noget, der kommer og rammer dig.

Until that hits you, you're not going to do the first shot.

Indtil det rammer dig, kommer du ikke til at filme første skud.

So what do you do?

Så hvad gør du?

So Cate says, "Shekhar, what do you want me to do?"

Så Kate siger: "Shekhar, hvad vil du have jeg skal gøre?"

And I say, "Cate, what do you want to do?" (Laughter)

Og jeg siger: "Kate, hvad har du lyst til at gøre?" (Latter)

"You're a great actor, and I like to give to my actors --

"Du er en stor skuespillerinde og jeg kan godt lide at give til mine skuespillere.

why don't you show me what you want to do?"

Hvorfor viser du mig ikke hvad du har lyst til at gøre".

(Laughter)

(Latter)

What am I doing? I'm trying to buy time.

Hvad er det jeg gør? Jeg forsøger at købe tid.

I'm trying to buy time.

Jeg forsøger at købe tid.

So the first thing about storytelling that I learned,

Så det første jeg lærte om historiefortælling,

and I follow all the time is: Panic.

og som jeg følger altid, er panik.

Panic is the great access of creativity

Panik er den storartede adgang til kreativitet

because that's the only way to get rid of your mind.

for det er den eneste måde, man kan blive fri fra sit sind.

Get rid of your mind.

Blive fri fra sit sind.

Get out of it, get it out.

Komme ud af det. Få det ud.

And let's go to the universe because

Og lad os tage til universet, fordi

there's something out there that is more

der er noget derude, der er mere

truthful than your mind,

sandt end dit sind,

that is more truthful than your universe.

der er mere sandt end dit univers.

[unclear], you said that yesterday. I'm just repeating it

[uklart], du sagde det i går. Jeg gentager det bare

because that's what I follow constantly

for det er hvad jeg konstant følger

to find the shunyata somewhere, the emptiness.

for at finde shunyata et sted, tomheden.

Out of the emptiness comes a moment of creativity.

Ud af tomheden kommer der et øjeblik med kreativitet.

So that's what I do.

Så det er hvad jeg gør.

When I was a kid -- I was about eight years old.

Da jeg var barn - jeg var omkring otte år gammel.

You remember how India was. There was no pollution.

Du husker hvordan Indien var. Der var ingen forurening.

In Delhi, we used to live -- we used to call it a chhat or the khota.

I Delhi, plejede vi at bo - vi plejede at kalde det en 'chata' eller 'khotaen'.

Khota's now become a bad word. It means their terrace --

'Khota' er nu blevet et dårligt ord. Det betyder deres terrasser --

and we used to sleep out at night.

og vi plejede at sove udendørs om natten.

At school I was being just taught about physics,

I skolen lærte jeg fysik,

and I was told that

og jeg blev fortalt at

if there is something that exists,

hvis noget eksisterer

then it is measurable.

så er det målbart.

If it is not measurable,

Hvis det ikke er målbart,

it does not exist.

eksisterer det ikke.

And at night I would lie out, looking at the unpolluted sky,

Og om natten ville jeg ligge under den uforurenede himmel

as Delhi used to be at that time when I was a kid,

som Delhi havde dengang, da jeg var barn,

and I used to stare at the universe and say,

og jeg plejede at stirre ind i universet og sige

"How far does this universe go?"

"Hvor langt rækker universet?"

My father was a doctor.

Min far var læge.

And I would think, "Daddy, how far does the universe go?"

Og jeg ville spørge: "Far, hvor langt rækker universet?"

And he said, "Son, it goes on forever."

Og han sagde: "Søn, det rækker uendeligt".

So I said, "Please measure forever

Så sagde jeg "Mål venligst uendeligt

because in school they're teaching me

for i skolen lærer de mig,

that if I cannot measure it, it does not exist.

at hvis jeg ikke kan måle det, så eksisterer det ikke.

It doesn't come into my frame of reference."

Det passer ikke i min referenceramme".

So, how far does eternity go?

Så hvor langt rækker det uendelige?

What does forever mean?

Hvad betyder for altid?

And I would lie there crying at night

Og jeg ville ligge der om natten og græde

because my imagination could not touch creativity.

fordi min fantasi ikke kunne røre kreativitet.

So what did I do?

Så hvad gjorde jeg?

At that time, at the tender age of seven,

På det tidspunkt, i den uge alder af syv år,

I created a story.

lavede jeg en historie.

What was my story?

Hvad var min historie?

And I don't know why, but I remember the story.

Og jeg ved ikke hvorfor, men jeg husker historien.

There was a woodcutter

Der var en træskærer,

who's about to take his ax and chop a piece of wood,

som er ved at tage sin økse og hugge et stykke træ,

and the whole galaxy is one atom of that ax.

og hele galaksen er et atom af den økse.

And when that ax hits that piece of wood,

Og når den økse rammer det stykke træ,

that's when everything will destroy

så er det dér alting vil ødelægges

and the Big Bang will happen again.

og 'big bang' vil indtræde igen.

But all before that there was a woodcutter.

Men før alt det var der en træskærer

And then when I would run out of that story,

Og så når jeg løb tør i den historie,

I would imagine that woodcutter's universe

ville jeg forestille mig, at den træskærers univers

is one atom in the ax of another woodcutter.

er et atom af en anden træskærers økse.

So every time, I could tell my story again and again

Så hver gang kunne jeg fortælle min historie igen og igen

and get over this problem,

og løse dette problem

and so I got over the problem.

og så løste jeg problemet.

How did I do it? Tell a story.

Hvordan gjorde jeg? fortælle en historie.

So what is a story?

Så hvad er en historie?

A story is our -- all of us --

En historie er vores - alle os.

we are the stories we tell ourselves.

Vi er de historier, vi fortæller os selv.

In this universe, and this existence,

I dette univers og denne eksistens,

where we live with this duality

hvor vi lever med denne dualitet

of whether we exist or not

af hvorvidt vi eksisterer eller ej

and who are we,

og hvem vi er,

the stories we tell ourselves are the stories

historierne vi fortæller os selv er historierne

that define the potentialities

som definerer potentialerne

of our existence.

af vores eksistens.

We are the stories we tell ourselves.

Vi er de historier, vi fortæller os selv.

So that's as wide as we look at stories.

Så det er så vidt som vi ser på historier.

A story is the relationship

En historie er forholdet

that you develop between who you are,

som du udvikler mellem hvem du er,

or who you potentially are,

eller hvem du potentielt er,

and the infinite world, and that's our mythology.

og den uendelige verden, og det er vores mytologi.

We tell our stories,

Vi fortæller vores historier,

and a person without a story does not exist.

og en person uden en historie, eksisterer ikke.

So Einstein told a story

Så Einstein fortalte en historie

and followed his stories and came up with theories

og fulgte sine historier og kom frem med teorier

and came up with theories and then came up with his equations.

og kom frem med teorier og kom så frem med sine ligninger.

Alexander had a story that his mother used to tell him,

Alexander havde en historie, hans mor plejede at fortælle ham,

and he went out to conquer the world.

og han gik ud for at erobre verden.

We all, everybody, has a story that they follow.

Vi har alle, allesammen, en historie, som vi følger.

We tell ourselves stories.

Vi fortæller os selv historier.

So, I will go further, and I say,

Så vil jeg gå videre og sige

"I tell a story, and therefore I exist."

jeg fortæller en historie, og derfor eksisterer jeg.

I exist because there are stories,

Jeg eksisterer fordi der er historier

and if there are no stories, we don't exist.

og hvis der ikke er historier, eksisterer vi ikke.

We create stories to define our existence.

Vi skaber historier for at definere vores eksistens.

If we do not create the stories,

Hvis ikke vi skaber historierne,

we probably go mad.

vil vi sikkert blive sindssyge.

I don't know; I'm not sure, but that's what I've done all the time.

Jeg ved det ikke. Jeg er ikke sikker, men det er hvad jeg har gjort altid.

Now, a film.

Nu, en film.

A film tells a story.

En film fortæller en historie.

I often wonder when I make a film -- I'm thinking of making a film of the Buddha --

Jeg tænker tit over det, når jeg laver en film - Jeg tænker på at lave en film om Buddha -

and I often wonder: If Buddha had all the elements

og jeg tænker tit: Hvis Buddha havde alle de elementer

that are given to a director --

der bliver givet til en instruktør

if he had music, if he had visuals, if he had a video camera --

hvis han havde musik, hvis han havde det visuelle, hvis han havde et video kamera,

would we get Buddhism better?

ville vi så forstå buddhisme bedre?

But that puts some kind of burden on me.

Men det giver mig en slags byrde.

I have to tell a story

Jeg er nødt til at fortælle en historie

in a much more elaborate way,

på en meget mere udførlig måde,

but I have the potential.

men jeg har potentialet.

It's called subtext.

det kaldes undertoner.

When I first went to Hollywood, they said --

Da jeg først tog til Hollywood, sagde de -

I used to talk about subtext, and my agent came to me,

Jeg plejede at tale om undertoner, og min agent kom hen til mig

"Would you kindly not talk about subtext?"

"Vil du venligst undlade at tale om undertoner?"

And I said, "Why?" He said, "Because nobody is going to give you a film

Og jeg sagde "Hvorfor?" Han sagde: "Fordi ingen vil give dig en film,

if you talk about subtext.

hvis du taler om undertoner.

Just talk about plot

Bare tal om plot

and say how wonderful you'll shoot the film,

og fortæl hvor vidunderligt du vil skyde filmen

what the visuals will be."

hvordan det visuelle vil være".

So when I look at a film,

Så når jeg kigger på en film,

here's what we look for:

her er hvad vi kigger efter,

We look for a story on the plot level,

vi kigger efter en historie på plot niveauet,

then we look for a story

så kigger vi efter en historie

on the psychological level,

på det psykologiske plan,

then we look for a story on the political level,

så kigger vi efter en historie på det politiske plan,

then we look at a story

så kigger vi efter en historie

on a mythological level.

på det mytologiske plan.

And I look for stories on each level.

Og jeg kigger efter historier på hvert plan.

Now, it is not necessary

Det er ikke nødvendigt,

that these stories agree with each other.

at disse historier stemmer overens.

What is wonderful is,

Det vidunderlige er,

at many times, the stories will contradict with each other.

at mange gange vil historierne modsige hinanden.

So when I work with Rahman who's a great musician,

Så når jeg arbejder med Rahman, der er en stor musiker,

I often tell him, "Don't follow what the script already says.

siger jeg ofte til ham "Følg ikke hvad manuskriptet allerede siger.

Find that which is not.

Find det, der ikke er.

Find the truth for yourself,

Find sandheden selv,

and when you find the truth for yourself,

og når du finder sandheden selv,

there will be a truth in it, but it may contradict the plot,

vil der være en sandhed i det, men det modsiger måske plottet,

but don't worry about it."

men det skal du ikke bekymre dig om".

So, the sequel to "Elizabeth," "Golden Age."

Efterfølgeren til "Elizabeth" "Golden Age".

When I made the sequel to "Elizabeth," here was a story that

Da jeg lavede efterfølgeren til "Elizabeth" var her en historie som

the writer was telling:

skribenten fortalte.

A woman who was threatened

En kvinde, der blev truet

by Philip II

af Philip II

and was going to war,

og som skulle i krig,

and was going to war, fell in love with Walter Raleigh.

og skulle i krig, forelskede sig i Walter Raleigh.

Because she fell in love with Walter Raleigh,

Fordi hun forelskede sig i Walter Raleigh,

she was giving up the reasons she was a queen,

opgav hun grundene til at hun var en dronning.

and then Walter Raleigh

Og så forelskede Walter Raleigh sig

fell in love with her lady in waiting,

i hendes anstandsdame,

and she had to decide whether she was a queen going to war

og hun måtte beslutte om hun var en dronning, der skulle i krig

or she wanted...

eller om hun ville...

Here's the story I was telling:

Her er historien, jeg fortalte.

The gods up there,

Guderne deroppe.

there were two people.

Der var to mennesker.

There was Philip II, who was divine

Der var Philip II, som var guddommelig

because he was always praying,

fordi han altid bad,

and there was Elizabeth, who was divine,

og der var Elizabeth, som var guddommelig,

but not quite divine because she thought she was divine,

men ikke helt guddommelig fordi hun troede hun var guddommelig,

but the blood of being mortal flowed in her.

men blodet af at være dødelig flød i hende.

But the divine one was unjust,

Men den guddommelige var uretfærdig,

so the gods said,

så guderne sagde:

"OK, what we need to do is

"Okay. Hvad vi har brug for er,

help the just one."

at hjælpe den retfærdige".

And so they helped the just one.

Og så hjalp de den retfærdige.

And what they did was, they sent Walter Raleigh down

Hvad de gjorde var, at de sendte Walter Raleigh ned

to physically separate her mortal self

for fysisk at adskille hendes mortale jeg

from her spirit self.

fra hendes åndelige jeg.

And the mortal self was the girl

Og det mortale jeg var pigen

that Walter Raleigh was sent,

som blev sendt til Walter Raleigh,

and gradually he separated her

og gradvist adskilte han hende

so she was free to be divine.

så hun var fri til at blive guddommelig.

And the two divine people fought,

Og de to guddommelige mennesker sloges,

and the gods were on the side of divinity.

og guderne var på den guddommelige side.

Of course, all the British press got really upset.

Og naturligvis blev den britiske presse vrede.

They said, "We won the Armada."

De sagde: "Vi vandt amadaen".

But I said, "But the storm won the Armada.

Men jeg sagde: "Jamen stormen vandt armadaen.

The gods sent the storm."

Guderne sendte stormen".

So what was I doing?

Så hvad var det jeg gjorde?

I was trying to find a mythic reason

Jeg forsøgte at finde en mytisk årsag

to make the film.

til at lave filmen.

Of course, when I asked Cate Blanchett, I said, "What's the film about?"

Og selvfølgelig, da jeg spurgte Kate Blanchett "Hvad handler filmen om?"

She said, "The film's about a woman

Sagde hun: "Filmen handler om en kvinde

coming to terms with growing older."

der affinder sig med at blive ældre".

Psychological.

Psykologisk.

The writer said "It's about history, plot."

Forfatteren sagde, at den handlede om historie, plot.

I said "It's about mythology,

Jeg siger den handler om mytologi,

the gods."

guderne.

So let me show you a film --

Så lad mig vise jer en film -

a piece from that film --

et uddrag fra filmen -

and how a camera also --

og hvordan et kamera også -

so this is a scene, where in my mind,

så dette er en scene hvor hun, i mit sind,

she was at the depths of mortality.

var i mortalitetens dybder.

She was discovering what mortality actually means,

Hun var ved at opdage, hvad mortalitet faktisk betyder,

and if she is at the depths of mortality,

og at hvis hun er i mortalitetens dybder,

what really happens.

hvad der så virkelig sker.

And she's recognizing the dangers of mortality

Og hun indser farerne ved mortalitet

and why she should break away from mortality.

og hvorfor hun skal væk fra mortalitet.

Remember, in the film, to me,

Husk på, i filmen, for mig,

both her and her lady in waiting

var både hun og anstandsdamen

were parts of the same body,

dele af den samme krop,

one the mortal self

ét mortalt jeg

and one the spirit self.

og ét åndeligt jeg.

So can we have that second?

Så kan vi få det uddrag?

(Music)

(Musik)

Elizabeth: Bess?

Elizabeth: Bess?

Bess?

Bess?

Bess Throckmorton?

Bess Throckmorton?

Bess: Here, my lady.

Bess: Her min frue.

Elizabeth: Tell me, is it true?

Elizabeth: Fortæl mig, er det sandt?

Are you with child?

Er du med barn?

Are you with child?

Er du med barn?

Bess: Yes, my lady.

Bess: Ja min frue.

Elizabeth: Traitorous.

Elizabeth: Din forrædder.

You dare to keep secrets from me?

Vover du at holde hemmeligheder fra mig?

You ask my permission before you rut,

Du spørger om min tilladelse før du skurer,

before you breed.

før du avler.

My bitches wear my collars.

Mine tæver bærer mine halsbånd.

Do you hear me? Do you hear me?

Hører du mig? Hører du mig?

Walsingham: Majesty. Please, dignity. Mercy.

Walsingham: Majestæt. Værdighed. Vis nåde.

Elizabeth: This is no time for mercy, Walsingham.

Elizabeth: Der er ikke tid til nåde, Walsingham.

You go to your traitor brother and leave me to my business.

Gå du hen til din forrædder broder og lad mig passe mit.

Is it his?

Er det hans?

Tell me. Say it. Is the child his? Is it his?

Fortæl mig det. Sig det. Er barnet hans? Er det hans?

Bess: Yes.

Bess: Ja.

My lady,

Min frue,

it is my husband's child.

Det er min ægtemands barn.

Elizabeth: Bitch! (Cries)

Elizabeth: Kælling! (Skriger)

Raleigh: Majesty.

Raleigh: Majestæt.

This is not the queen I love and serve.

Dette er ikke dronningen, som jeg elsker og tjener.

Elizabeth: This man has seduced a ward of the queen,

Elizabeth: Denne mand har forført dronningens anstandsdame

and she has married without royal consent.

og hun har giftet sig uden royal billigelse.

These offenses are punishable by law. Arrest him.

Disse overtrædelser er strafbare ifølge lov. Arrester ham.

Go.

Gå.

You no longer have the queen's protection.

Du har ikke længere dronningens beskyttelse.

Bess: As you wish, Majesty.

Bess: Som De ønsker, Majestæt.

Elizabeth: Get out! Get out! Get out!

Elizabeth: Ud! Ud! Ud!

Get out.

Ud.

(Music)

(Musik)

Shekhar Kapur: So, what am I trying to do here?

Shekhar Kapur: Så hvad er det jeg prøver at gøre her?

Elizabeth has realized,

Elizabeth har indset,

and she's coming face-to-face

og hun står ansigt til ansigt

with her own sense of jealousy,

med hendes egen følelse af jalousi,

her own sense of mortality.

hendes egen følelse af mortalitet.

What am I doing with the architecture?

Hvad gør jeg med arkitekturen?

The architecture is telling a story.

Arkitekturen fortæller en historie.

The architecture is telling a story

Arkitekturen fortæller en historie

about how, even though she's the most powerful woman

om hvordan, selvom hun er den mest kraftfulde kvinde,

in the world at that time,

i verden, dengang,

there is the other, the architecture's bigger.

er der den anden, arkitekturen er større.

The stone is bigger than her because stone is an organic.

Stenene er større end hende fordi sten er uorganiske.

It'll survive her.

De vil overleve hende.

So it's telling you, to me, stone is part of her destiny.

Så det fortæller jer, at for mig er sten en del af hendes skæbne.

Not only that, why is the camera looking down?

Ikke alene det, hvorfor kigger kameraet ned?

The camera's looking down at her because she's in the well.

Kameraet kigger ned på hende, fordi hun er i brønden.

She's in the absolute well

Hun er i den absolutte brønd

of her own sense of being mortal.

af hendes egen følelse af at være dødelig.

That's where she has to pull herself out

Det er dér hun er nødt til at trække sig selv ud

from the depths of mortality,

fra disse dødelighedsdybder,

come in, release her spirit.

komme ind, frigøre sin ånd.

And that's the moment where, in my mind,

Og det er det øjeblik hvor, i mit sind,

both Elizabeth and Bess are the same person.

både Elizabeth og Bess er samme person.

But that's the moment

Men det er øjeblikket hvor

she's surgically removing herself from that.

hun kirurgisk fjerner sig selv fra det.

So the film is operating on

Så filmen opererer på

many many levels in that scene.

mange mange forskellige niveauer i den scene.

And how we tell stories

Og måden vi fortæller historier

visually, with music, with actors,

visuelt, med musik, med skuespillere,

and at each level it's a different sense

og på hvert niveau er det en forskellig sans

and sometimes contradictory to each other.

og til tider modsiger de hinanden.

So how do I start all this?

Så hvordan starter jeg alt det her?

What's the process of telling a story?

Hvad er processen med at fortælle en historie?

About ten years ago,

For ca. ti år siden,

I heard this little thing from a politician,

hørte jeg dette lille udsagn fra en politiker,

not a politician that was very well respected in India.

ikke en politiker, der var særlig respekteret i Indien.

And he said that these people in the cities,

Og han sagde, at disse folk i byerne,

in one flush, expend as much water

i et skyl, forbruger så meget vand

as you people in the rural areas

som I folk i landdistrikterne

don't get for your family for two days.

ikke får på to dage.

That struck a chord, and I said, "That's true."

Det ramte en akkord, og jeg sagde: "Det er sandt".

I went to see a friend of mine,

Jeg tog hen for at besøge en af mine venner

and he made me wait

og han fik mig til at vente

in his apartment in Malabar Hill

i hans lejlighed i Malabar Hill

on the twentieth floor,

på den tyvende etage,

which is a really, really upmarket area in Mumbai.

hvilket er et virkelig, virkelig fint område i Mumbai.

And he was having a shower for 20 minutes.

Og han tog et bad i 20 minutter.

I got bored and left, and as I drove out,

Jeg begyndte at kede mig og gik, og da jeg kørte væk,

I drove past the slums of Bombay,

kørte jeg forbi slummet i Bombay,

as you always do,

som man altid gør,

and I saw lines and lines in the hot midday sun

og jeg så køer og køer i den varme middagssol

of women and children with buckets

kvinder og børn med spande

waiting for a tanker

ventende på et tankskib

to come and give them water.

der skulle komme og give dem vand.

And an idea started to develop.

Og en idé begyndte at udvikle sig.

So how does that become a story?

Så hvordan bliver det til en historie?

I suddenly realized that we are heading towards disaster.

Jeg indså pludselig, at vi stiler mod en katastrofe.

So my next film is called "Paani"

Så min næste film hedder "Paani"

which means water.

hvilket betyder vand.

And now, out of the mythology of that,

Og fra den mytologi

I'm starting to create a world.

begynder jeg at kreere en verden.

What kind of world do I create,

Hvilken slags verden kreerer jeg,

and where does the idea, the design of that come?

og hvor kommer idéen, designet af denne, fra?

So, in my mind, in the future,

Så i mit sind, i fremtiden

they started to build flyovers.

begynder de at bygge overflyvninger.

You understand flyovers? Yeah?

Forstår I overflyvninger? Ja?

They started to build flyovers

De begyndte at bygge overflyvninger

to get from A to B faster,

for at komme hurtigere fra A til B,

but they effectively went from one area of relative wealth

men de gik faktisk fra det ene område med relativ velstand

to another area of relative wealth.

til et andet område med relativ velstand.

And then what they did was

Og hvad de så gjorde var

they created a city above the flyovers.

at de skabte en by ovenover overflyvningerne.

And the rich people moved to the upper city

Og de rige folk flyttede til den øvre by

and left the poorer people in the lower cities,

og lod de fattigere folk være i de lavere byer,

about 10 to 12 percent of the people

ca. 10 til 12 procent af menneskene

have moved to the upper city.

er flyttet til den øvre by.

Now, where does this upper city and lower city come?

Hvor kommer så denne øvre by og den lavere by fra?

There's a mythology in India about --

Der findes en mytologi i Indien om -

where they say, and I'll say it in Hindi,

hvor de siger, og jeg vil sige det på Hindi,

[Hindi]

[Hindi]

Right. What does that mean?

Ja. Hvad betyder det?

It says that the rich are always sitting on the shoulders

Jeg siger, at de rige altid sidder på skuldrene

and survive on the shoulders of the poor.

og overlever på skuldrene af de fattige.

So, from that mythology, the upper city and lower city come.

Så den øvrige by og den lavere by kommer fra denne mytologi.

So the design has a story.

Så designet har en historie.

And now, what happens is that the people of the upper city,

Og det der nu sker er, at folket af folket af den øvre by

they suck up all the water.

suger alt vandet op.

Remember the word I said, suck up.

Husk på det ord, jeg sagde, "suger" op.

They suck up all the water, keep to themselves,

De suger alt vandet op, holder det for sig selv,

and they drip feed the lower city.

og de dropfodrer den lavere by.

And if there's any revolution, they cut off the water.

Og hvis der opstår revolution, så lukker de for vandet.

And, because democracy still exists,

Og fordi demokrati stadig eksisterer

there's a democratic way in which you say

så er der en demokratisk måde at sige

"Well, if you give us what [we want], we'll give you water."

godt, hvis I giver os hvad [vi vil have], så giver vi jer vand.

So, okay my time is up.

Okay, så er min tid gået.

But I can go on about telling you

Men jeg kan blive ved med at fortælle jer

how we evolve stories,

hvordan vi udvikler historier,

and how stories effectively are who we are

og hvordan historier reelt er hvem vi er

and how these get translated into the particular discipline

og hvordan disse bliver oversat til den særlige disciplin

that I am in, which is film.

som jeg er i, hvilket er film.

But ultimately, what is a story? It's a contradiction.

Men i sidste ende, hvad er en historie? Det er en selvmodsigelse.

Everything's a contradiction.

Alting er en selvmodsigelse.

The universe is a contradiction.

Universet er en selvmodsigelse.

And all of us are constantly looking for harmony.

Og vi leder alle konstant efter harmoni.

When you get up, the night and day is a contradiction.

Når I står op, er dag og nat en modsætning.

But you get up at 4 a.m.

Men I står op kl. 4

That first blush of blue is where the night and day

Det første rødlige blå er hvor natten og dagen

are trying to find harmony with each other.

prøver at finde en harmoni med hinanden.

Harmony is the notes that Mozart didn't give you,

Harmoni er de noder, som Mozart ikke gav jer,

but somehow the contradiction of his notes suggest that.

men som på sin vis antydes i modsætningen i hans noder.

All contradictions of his notes suggest the harmony.

Alle modsætningerne i hans noder antyder hamonien.

It's the effect of looking for harmony

Det er virkningen af at lede efter harmoni

in the contradiction that exists in a poet's mind,

i modsætningen der findes i en poets sind,

a contradiction that exists in a storyteller's mind.

en modsætning der findes i en historiefortællers sind.

In a storyteller's mind, it's a contradiction of moralities.

En historiefortællers sind er en modsætning af det sædelige.

In a poet's mind, it's a conflict of words,

En poets sind er en konflikt af ord.

in the universe's mind, between day and night.

I universets sind. Mellem dag og nat.

In the mind of a man and a woman,

I manden og kvindens sind

we're looking constantly at

leder vi konstant efter

the contradiction between male and female,

modsætningen mellem mand og kvinde.

we're looking for harmony within each other.

Vi er på udkig efter harmoni med hinanden.

The whole idea of contradiction,

Hele ideen med modsætning,

but the acceptance of contradiction

men accepten af modsætning

is the telling of a story, not the resolution.

er fortællingen af en historie, ikke en løsning.

The problem with a lot of the storytelling in Hollywood

Problemet med mange af Hollywoods historiefortællinger

and many films, and as [unclear] was saying in his,

og mange film, og som [uklar] siger i hans,

that we try to resolve the contradiction.

at vi prøver at løse modsætningen.

Harmony is not resolution.

Harmoni er ikke løsningen.

Harmony is the suggestion of a thing

Harmoni er antydningen af en ting,

that is much larger than resolution.

der er meget større end løsningen.

Harmony is the suggestion of something

Harmoni er antydningen af noget

that is embracing and universal

der er omfattende og universelt

and of eternity and of the moment.

og om evighed og om øjeblikket.

Resolution is something that is far more limited.

Løsning er noget der er langt mere begrænset.

It is finite; harmony is infinite.

Det er endeligt. Harmoni er uendeligt.

So that storytelling, like all other contradictions in the universe,

Så historiefortællingen, som alle andre modsætninger i universet,

is looking for harmony and infinity

leder efter harmoni og uendelighed

in moral resolutions, resolving one, but letting another go,

i moralske løsninger, der løser et, men lader noget andet være,

letting another go and creating a question that is really important.

lader noget andet være, og skaber et spørgsmål, der er virkelig vigtigt.

Thank you very much.

Tak skal I have.

(Applause)

(Bifald)