The mystery box | JJ Abrams

Translator: Jens Genders Reviewer: Kian Conteh

Here's my thing.

Jeg vil gerne starte med -- et øjeblik. Sådan.

Hold on. There I go. Hey.

I want to start today -- talk about the structure of a polypeptide.

Hej. Jeg vil gerne starte med at tale om strukturen af polypeptider. (Latter)

(Laughter)

I get a lot of people asking me, in terms of "Lost," you know,

En masse mennesker spørger mig, i forhold til "Lost,"

"What the hell's that island?"

"Hvad helvede er det for en ø?"

You know, it's usually followed by,

Som regel fulgt op af,

"No, seriously, what the hell is that island?"

"Nej, helt ærligt, hvad helvede er det med den ø?"

Why so many mysteries?

(Latter)

What is it about mystery that I seem to be drawn to?

Hvorfor så mange mysterier? Hvad er det ved mysterier, der er så tiltrækkende for mig?

And I was thinking about this, what to talk about at TED.

Og jeg tænkte på hvad jeg skulle tale om til TED.

When I talked to the kind rep from TED,

Da jeg talte med den venlige kontaktperson fra TED, spurgte jeg,

and I said, "Listen, you know, what should I talk about?"

"Hør, hvad skal jeg tale om?"

He said, "Don't worry about it. Just be profound."

Han svarede, "Det skal du ikke tænke på. Bare være dybsindig."

(Laughter)

(Latter) Og det gjorde mig enormt rolig.

And I took enormous comfort in that.

So thank you, if you're here.

Så tak, hvis du er her.

I was trying to think, what do I talk about? Good question.

Jeg prøvede at tænke på, hvad jeg gerne vil tale om? Det er et godt spørgsmål.

Why do I do so much stuff that involves mystery?

Hvorfor involverer så meget af det jeg laver, mysterier? Og det prøvede jeg at finde ud af.

And I started trying to figure it out.

And I started thinking about why do I do any of what I do,

Og jeg begyndte at tænke på, hvorfor jeg gør de ting jeg gør,

og så begyndte jeg at tænke på min bedstefar.

and I started thinking about my grandfather.

Jeg elskede min bedstefar. Harry Kelvin, hed han,

I loved my grandfather.

Harry Kelvin was his name, my mother's father.

He died in 1986. He was an amazing guy.

min mors far. Han døde i 1986. Han var en fantastisk mand.

And one of the reasons he was amazing:

Og en af grundende til, at han var fantastisk, var

After World War II, he began an electronics company.

at han efter Anden Verdenskrig stiftede et elektronik firma.

He started selling surplus parts, kits, to schools and stuff.

Han solgte overskudsdele, samlesæt, til skoler og lignende.

So he had this incredible curiosity.

Han havde en utrolig nysgerrighed. Som barn

As a kid, I saw him come over to me

with radios and telephones and all sorts of things.

kom han over til mig med radioer og telefoner, og alle mulige ting.

And he'd open them up, he'd unscrew them and reveal the inner workings --

Og han åbnede dem, skilte dem ad, og afslørede delene inden i --

which many of us, I'm sure, take for granted.

noget mange af os, tror jeg, tager for givet.

But it's an amazing gift to give a kid.

Men det er en fantastisk oplevelse for et barn.

To open up this thing and show how it works

At åbne den her ting, og se hvordan den virker, og hvorfor den virker, og hvad det er.

and why it works and what it is.

He was the ultimate deconstructor, in many ways.

Han var på mange måder den ultimative nedbryder.

And my grandfather was a kind of guy who would not only take things apart,

Og min bedstefar var typen, som ikke kun skilte ting ad,

but he got me interested in all sorts of different odd crafts,

han fik også mig interesseret i alle mulige mærkelige teknikker,

like, you know, printing, like the letter press.

som eksempelvis tryk, som i en papirtrykker. Jeg er besat af papirtrykkeri.

I'm obsessed with printing.

I'm obsessed with silk-screening and bookbinding and box making.

Jeg er besat af silketryk og bogbinderi, og at lave kasser.

When I was a kid, I was always, like, taking apart boxes and stuff.

Da jeg var dreng, skilte jeg altid ting ad.

And last night in the hotel, I took apart the Kleenex box.

Og i går aftes på hotellet, skilte jeg kassen med servietter ad.

I was just looking at it. And I'm telling you --

Jeg så bare på den. Og, jeg siger jer, det er en smuk ting.

(Laughter)

It's a beautiful thing. I swear to God.

Det lover jeg jer. Jeg mener, når du kigger på kassen, og du ser hvordan den virker.

I mean, when you look at the box and you sort of see how it works.

Rives er her, og jeg mødte ham for flere år siden på en bogmesse. Han laver pop-up bøger.

Rives is here, and I met him years ago at a book fair;

he does pop-up books.

And I'm obsessed with engineering of paper.

Og jeg er besat af, hvordan man laver papir.

The scoring of it, the printing of it,

Men selve udformningen af det, trykket på det, hvordan tingene bliver limet,

where the thing gets glued, the registration marks for the ink.

I ved, markeringerne til blækket. Jeg elsker bare æsker.

I just love boxes.

My grandfather was the guy

Min bedstefar var typen der, I ved,

who kind of got me into all sorts of these things.

fik mig i gang med

He would also supply me with tools.

Han skaffe også værktøj til mig.

He was this amazing encourager -- this patron, sort of, to make stuff.

Han var utrolig god til at motivere - motivere til at skabe ting.

And he got me a Super 8 camera when I was 10 years old.

Og han skaffede mig et Super 8 kamera, da jeg var 10 år gammel.

And in 1976, that was sort of an anomaly,

Og i 1976 var det lidt usædvanligt,

to be a 10-year-old kid that had access to a camera.

at være 10 år og så have adgang til et kamera.

And you know, he was so generous; I couldn't believe it.

Og han var så generøs, at jeg næsten ikke kunne fatte det.

He wasn't doing it entirely without some manipulation.

Han gjorde det ikke helt uden manipulation.

I mean, I would call him, and I'd be like,

Jeg mener, jeg ville ringe til ham, og sige,

"Hør, bedstefar, jeg har virkelig brug for det her kamera.

"Listen, Grandpa, I really need this camera.

You don't understand. This is, like, I want to make movies.

Du fatter det slet ikke. Det handler om, at jeg vil lave film.

I'll get invited to TED one day --"

Jeg bliver inviteret til TED en dag. Det her er --" (Latter)

(Laughter)

And, you know, my grandmother was the greatest.

Og min bedstemor var fantastisk.

Because she'd be like, you know -- she'd get on the phone.

Fordi hun ville -- hun kom til telefonen.

She'd be like, "Harry, it's better than the drugs.

Hun sagde, "Harry, det er bedre end stoffer. Han burde --"

She was fantastic.

Hun var fantastisk. (Latter)

So I found myself getting this stuff, thanks to her assist,

Så jeg fik de her ting,

and suddenly, you know,

takket være hendes hjælp, og pludselig

I had a synthesizer when I was 14 years old --

havde jeg en synthezier da jeg var 14 -- den slags ting.

this kind of stuff.

And it let me make things, which, to me, was sort of the dream.

Det gav mig mulighed for at skabe ting, som, for mig, var en slags drøm.

He sort of humored my obsession to other things too, like magic.

Han accepterede også mine andre besættelser, som trylleri.

The thing is, we'd go to this magic store in New York City

Vi tog til en tryllebutik i New York City ved navn Lou Tannen's Magic.

called Lou Tannen's Magic.

It was this great magic store.

Det var den her utrolige tyllebutik. Det var en elendig lille bygning i midtbyen,

It was a crappy little building in Midtown,

but you'd be in the elevator, the elevator would open --

men du stod i elevatoren, og elevatordøren åbnede --

så var der den her lille tryllebutik.

there'd be this little, small magic store.

You'd be in the magic store. And it was a magical place.

Og det var bare et magisk sted.

Jeg fandt alle de her forskellige tryllekunstner. Vent, her. Lad mig vise jer.

So I got all these magic tricks. Here. I'll show you.

Denne slags ting. Så jeg ville, I ved. Ikke?

This is the kind of thing. So it would be like, you know.

Which is good, but now I can't move.

Hvilket er fint, men nu kan jeg ikke bevæge mig.

Now, I have to do the rest of the thing like this.

Nu er jeg så nødt til at gøre sådan, resten, sådan.

I'm like, "Oh, wow. Look at my computer over there!"

"Årh, prøv at se min computer derovre!" (Latter)

(Laughter)

Nå, men en af de ting jeg købte i den tryllebutik, var den her:

So one of the things that I bought at the magic store was this:

Tannen's Mystery Magic Box.

Tannen's Mystery Magic Box.

The premise behind the Mystery Magic Box was the following:

Idéen bag den mystiske, magiske box var følgende:

15 dollars buys you 50 dollars worth of magic.

For 15 dollars fik man for 50 dollars tryllekunster.

Which is a savings.

Altså en besparelse. (Latter)

(Laughter)

Now, I bought this decades ago and I'm not kidding.

Jeg købte den her for mange år siden, og jeg lyver ikke.

If you look at this, you'll see it's never been opened.

Hvis man ser på den, vil man se at den aldrig har været åbnet.

But I've had this forever.

Men jeg har haft den i vildt lang tid.

Now, I was looking at this,

it was in my office, as it always is, on the shelf,

Nå, men jeg sad og kiggede på den, på mit kontor, hvor den altid står på sin hylde,

og jeg tænkte, hvorfor har jeg aldrig åbnet den?

and I was thinking, why have I not opened this?

And why have I kept it?

Og hvorfor har jeg beholdt den? Fordi jeg er ikke nogen samler. Jeg gemmer ikke alt

Because I'm not a pack rat.

I don't keep everything,

but for some reason I haven't opened this box.

men af en eller anden grund har jeg aldrig åbnet denne kasse.

And I felt like there was a key to this, somehow,

Og jeg havde på fornemmelsen, at der måtte være noget sigende i det, på en måde,

in talking about something at TED that I haven't discussed before,

til min tale om noget til TED, som jeg aldrig har talt om før,

and bored people elsewhere.

og kedet folk med andre steder.

So I thought, maybe there's something with this.

Så jeg tænkte, måske er der noget om det her. Jeg begyndte at tænke på det.

And there was this giant question mark.

Og så var der bare det her gigantiske spørgsmålstegn. Jeg elsker i øvrigt designet

I love the design, for what it's worth, of this thing.

af den her ting. Og jeg begyndte at tænke, hvorfor har jeg aldrig åbnet den?

And I started thinking, why haven't I opened it?

Og det gik op for mig, at jeg aldrig har åbnet den, fordi den repræsentere noget meget vigtigt

And I realized that I haven't opened it

because it represents something important -- to me.

-- for mig. Den repræsenterer min bedstefar.

It represents my grandfather.

Am I allowed to cry at TED?

Er det tilladt at græde til TED? Fordi -- nej, jeg begynder ikke at græde. Men -- (Latter)

Because -- no, I'm not going to cry.

(Laughter)

But --

(Laughter)

The thing is that it represents infinite possibility.

-- sagen er den, at den repræsenterer uendelige muligheder.

It represents hope. It represents potential.

Den repræsenterer håb. Den repræsenterer potentiale.

And what I love about this box,

Og det jeg elsker ved den her kasse,

and what I realize I sort of do in whatever it is that I do,

og det, jeg indser, jeg altid gør, i det jeg gør,

is I find myself drawn to infinite possibility,

er, at jeg bliver tiltrukket uendelige muligheder, den slags potentiale.

that sense of potential.

And I realize that mystery is the catalyst for imagination.

Og jeg kan se, at mysterier er en katalysator for fantasien.

Now, it's not the most ground-breaking idea,

Okay, det er ikke den mest revolutionerende idé,

but when I started to think that maybe there are times

men da jeg begyndte at tænke over, at der måske er et tidspunkt, hvor mystik

when mystery is more important than knowledge.

er vigtigere end viden, begyndte jeg at være interesseret i det her.

I started getting interested in this.

And so I started thinking about "Lost" and the stuff that we do,

Så jeg begyndte at tænke på "Lost," og det vi laver der,

og jeg indså, at der er mystik-bokse i alt hvad jeg laver!

and I realized, oh my God, mystery boxes are everywhere in what I do!

I hvordan skabelsen af "Lost," hvordan Damon Lindelof og jeg,

In the creation of "Lost," Damon Lindelof and I,

who created the show with me,

som skabte serien sammen med mig, vi havde i bund og grund til opgave at skabe serien

we were basically tasked with creating this series

that we had very little time to do.

hvilket vi havde meget lidt tid til. Vi havde 11 en halv uge

We had 11 and a half weeks

to write it, cast it, crew it, shoot it, cut it, post it, turn in a two-hour pilot.

til at skrive den, caste den, optage den, klippe den og gøre det et to-timers første afsnit.

So it was not a lot of time.

Så der var ikke den store tid. Og den form for mulighed -- hvad kan det her være?

And that sense of possibility -- what could this thing be?

There was no time to develop it.

Der var ingen tid til at udvikle den.

I'm sure you're all familiar with people

Jeg er sikker på, at I alle er bekendt med de mennesker,

who tell you what you can't do and what you should change.

som fortæller jeg, at I ikke kan gøre det, og hvad I burde ændre.

Det var der ikke tid til, hvilket egentlig er ret utroligt.

There was no time for that, which is kind of amazing.

Så vi lavede serien, og for dem af jer, som ikke har set den,

And so we did this show,

and for those of you who haven't seen it, or don't know it,

eller ikke kender den, kan jeg vise jer et lille klip fra første afsnit,

I can show you one little clip from the pilot,

just to show you some stuff that we did.

bare for at vise jer noget af det vi lavede.

(Engine roaring)

(Video) Claire: Help!

Claire: Hjælp! Hjælp mig! Hjælp mig! Hjælp mig!

Please help me!

Help me! Please, help me!

Jack: Get him out of here! Get him away from the engine!

Jack: Få ham ud derfra! Få ham væk fra den motor. Få ham væk herfra!

Get him out of here!

(Engine roaring)

C: Help me, please! I'm having contractions!

C: Jeg har veer!

J: How many months pregnant are you?

J: Hvor langt henne i graviditeten er du?

C: Jeg er kun otte måneder.

C: I'm only eight months.

J: And how far apart are they coming?

J: Og hvor lang tid er der mellem dem?

C: Det ved jeg ikke. Jeg tror lige det er sket.

C: I don't know. I think it just happened.

Mand: Hey! Hey! Hey, kom væk fra --

Man: Hey! Hey! Hey, get away from --

JJ Abrams: 10 years ago, if we wanted to do that,

JJA: Hvis vi ville gøre det der for 10 år siden, blev vi nødt til at dræbe en stuntmand.

we'd have to kill a stuntman.

(Laughter)

Vi havde faktisk -- (Latter) --

It would be harder.

troet det ville være sværere. Det ville kræve -- Andet forsøg ville være et helvede.

Take two would be a bitch.

(Laughter)

Så det utrolige var, at her var vi i stand til at gøre det her.

So the amazing thing was, we were able to do this thing.

And part of that was the amazing availability of technology,

Og en del af det skyldes den utrolige teknologi der er tilgængelig,

knowing we could do anything.

og at vide, at vi kan gøre hvad som helst. Jeg mener, vi kunne aldrig have gjort det der.

I mean, we could never have done that.

We might have been able to write it;

Vi kunne måske skrive det, men vi ville aldrig kunne vise det

we wouldn't have been able to depict it like we did.

som vi gjorde. Så en del af det utrolige, for mig, er den kreative proces,

So part of the amazing thing for me is in the creative process,

teknologi er ufatteligt inspirerende for mig.

technology is mind-blowingly inspiring to me.

I realize that that blank page is a magic box, you know?

Jeg kan nu se, at det blanke stykke papir er den magiske kasse.

It needs to be filled with something fantastic.

Det skal fyldes med noget fantastisk.

I used to have the "Ordinary People" script that I'd flip through.

Jeg plejede at have manuskriptet fra "Ordinary People," som jeg bladrede igennem.

Jeg synes romantikken i manuskriptet er utrolig. Det ville inspirere mig.

The romance was amazing to me; it would inspire me.

I wanted to try and fill pages

Jeg ville prøve og fylde sider med den samme

with the same kind of spirit and thought and emotion

ånd og tanker, og følelser, som manuskriptet gjorde.

that that script did.

So, you know, I love Apple computers.

Så det -- I ved, jeg elsker Apple computere. Jeg er besat.

I'm obsessed.

Så Apple computeren -- ligesom de -- PowerBook'en -- denne computer -- den

So the Apple computer -- the PowerBook -- this computer,

it challenges me.

udfordrer mig. Den siger nærmest,

It basically says, what are you going to write worthy of me?

hvad har du tænkt dig at skrive, som er mig værdig? (Latter)

I feel this -- I'm compelled.

Jeg føler vel -- jeg bliver tiltrukket.

(Laughter)

And I often am like, you know, dude, today I'm out.

Og ofte må jeg sige, I ved, i dag kan jeg simpelthen ikke. Jeg har ikke noget at byde ind med. Kender I det? (Latter)

I got nothing. You know? So there's that.

In terms of the content of it,

Så det var det. I forhold til indholdet, så ser man på historier, du tænker,

you look at stories, you think, what are stories but mystery boxes?

hvad er historier ud over mystiske kasser?

There's a fundamental question -- in TV, the first act is called the teaser.

Der er et fundamentalt spørgsmål -- i TV kaldes det første akt for en teaser.

It's literally the teaser. It's the big question.

Det er i bogstavelig forstand en teaser. Det er det store spørgsmål.

Så du bliver draget ind i det. Hvad der så sker,

So you're drawn into it. Then there's another question.

det er et helt andet spørgsmål. Og det bliver ved og ved.

And it goes on. Look at "Star Wars."

Se på eksempelvis "Star Wars." Du har droiderne. De møder en mystisk kvinde.

The droids meet the mysterious woman.

Hvem er det? Det ved vi ikke. Mystik-boks!

Who's that? We don't know. Mystery box! Then you meet Luke Skywalker.

Så møder du Luke Skywalker. Han finder droiden, du ser det holografiske billede.

He gets the droid, you see the holographic image.

Du lærer, Nårh, det er en besked.

You learn it's a message. She wants to find Obi Wan Kenobi.

Hun vil finde Obi Wan Kenobi. Han er hendes eneste håb.

He's her only hope. But who's Obi Wan Kenobi?

Men hvem helvede er Obi Wan Kenobi? Mystik-boks!

Så du følger med, og han møder Ben Kenobi. Ben Kenobi er Obi Wan Kenobi.

Mystery box! So then he meets Ben Kenobi.

Ben Kenobi is Obi Wan Kenobi. Holy shit! So it keeps us --

Shit! Du ved -- det holder os --

(Laughter)

(Latter) -- har I ikke set det?

Have you guys not seen that?

(Laughter)

(Latter) Det er stort! Nå, men --

It's huge! Anyway --

So there's this thing with mystery boxes that I started feeling compelled.

Så der er det her med mystiske kasser, som jeg begyndte at blive tiltrukket af.

Then there's the thing of mystery in terms of imagination --

Så er der det med mystik i forhold til fantasien --

the withholding of information.

tilbageholdensen af information. I ved,

You know, doing that intentionally is much more engaging.

at gøre det bevidst, er meget mere medrivende.

Whether it's like the shark in "Jaws" --

Uanset om det er som med hajen i "Dødens Gab"

if Spielberg's mechanical shark, Bruce, had worked,

-- hvis Spielbergs mekaniske haj, Bruce, havde virket,

it would not be remotely as scary; you would have seen it too much.

havde det ikke været nær så skræmmende. Man ville have set den for meget.

I "Alien" viste de aldrig rigtig alien'en: skræmmende!

In "Alien", they never really showed the alien: terrifying!

Even in a movie like a romantic comedy, "The Graduate,"

Selv i en film, en romantisk komedie som "Fagre voksne verden,"

har de den date. Kan I huske det?

they're having that date, and they're in the car,

De sidder i bilen, og det larmer, så de tager taget op.

and it's loud, and so they put the top up.

You don't hear anything they're saying!

De er derinde -- du kan ikke høre noget af det de siger! Du kan ikke høre et ord!

You can't hear a word! But it's the most romantic date ever.

Men det er den mest romantiske scene nogensinde. Og du elsker det, fordi du ikke kan høre det?

And you love it because you don't hear it.

So to me, there's that. And then, finally, there's this idea --

For mig, er det det, det handler om.

Og til sidst er der det her med -- for at strække konceptet en smule --

stretching the paradigm a little bit --

but the idea of the mystery box.

men idéen om den mystiske kasse.

Meaning, what you think you're getting, then what you're really getting.

Forstået på den måde, at hvad du tror du får, og så hvad du egentlig får.

Og det passer i så mange film og historier.

And it's true in so many movies and stories.

Look at "E.T.," for example --

Når du ser på "E.T.," for eksempel -- "E.T." er den her,

"E.T." is this unbelievable movie about what?

utrolige film om hvad? Det handler om et rumvæsen, der møder en dreng. Ikke?

It's about an alien who meets a kid, right?

Well, it's not. "E.T." is about divorce.

Det vil sige, det er det ikke. "E.T." handler om skilsmisse. "E.T." handler om en knust,

"E.T." is about a heartbroken, divorce-crippled family,

skilsmisseramt familie, og i sidste ende, den her dreng, der ikke ved hvad han skal gøre.

and ultimately, this kid who can't find his way.

"Die Hard," right? Crazy, great, fun, action-adventure movie in a building.

"Die Hard." Skør, god, sjov, action-eventyrfilm i en bygning.

It's about a guy who's on the verge of divorce.

Det handler om en fyr, som er på grænsen til skilsmisse.

He's showing up to L.A., tail between his legs.

Han dukker op i L.A., med halen mellem benene.

There are great scenes --

Der er gode scener -- måske ikke de mest dramatiske

maybe not the most amazing dramatic scenes in the history of time,

scener i filmhistorien, men ganske gode scener.

but pretty great scenes.

There's a half an hour of investment in character

Der er en halv times investering i rollen, før du kommer til det

before you get to the stuff that you're expecting.

du, I ved, forventer.

When you look at a movie like "Jaws,"

Når du ser en film som "Dødens Gab,"

den scene du, som du forventer -- har vi det billede?

the scene that you expect -- we have the screen?

These are the kind of scenes

Det er denne type scener du husker, og forventer, fra "Dødens Gab."

that you remember and expect from "Jaws."

And she's being eaten;

Hun bliver spist. Der er en haj.

there's a shark.

(Woman screaming)

The thing about "Jaws" is, it's really about a guy

Det der er ved "Dødens Gab," er, at det virkeligheden handler om en mand,

who is sort of dealing with his place in the world -- with his masculinity,

som prøver at finde sin plads i verden -- med sin maskulinitet,

with his family, how he's going to, you know, make it work in this new town.

med sin familie, hvordan han kan få det til at fungere i den her nye by.

This is one of my favorite scenes ever,

Det her er en af mine absolutte favoritscener,

and this is a scene that you wouldn't necessarily think of

og det er en scene som I ikke nødvendigvis ville tænke på, når I tænker på "Dødens Gab".

when you think of "Jaws." But it's an amazing scene.

Men det er en fantastisk scene.

(Video) Father: C'mere.

Far: Kom her. Giv et kys.

Give us a kiss.

Son: Why?

Søn: Hvorfor?

Father: 'Cause I need it.

Far: Fordi jeg har brug for det.

JJA: Come on. "Why? 'Cause I need it"?

JJA: Helt ærligt. "Hvorfor? Fordi jeg har brug for det?" Bedste scene nogensinde, har jeg ret?

Best scene ever, right?

(Laughter)

Helt ærligt! Så når I tænker på "Dødens Gab" --

Come on! So you think of "Jaws" --

so that's the kind of stuff that,

det er den slags, I ved, investeringen i en karakter,

like, you know -- the investment of character,

which is the stuff that really is inside the box, you know?

som er det stof der i virkeligheden er inde i kassen.

It's why when people do sequels, or rip off movies, you know, of a genre,

Det er derfor, at folk der laver efterfølgere, eller kopierer film, i en genre,

they're ripping off the wrong thing.

de kopierer det forkerte.

You're not supposed to rip off the shark or the monster.

Det er ikke meningen, at du skal kopiere hajen eller monsteret.

Du skal kopiere -- I ved, hvis man kopierer noget -- kopiér karakteren.

You know, if you rip something off -- rip off the character.

Rip off the stuff that matters.

Kopiér det der betyder noget. Jeg mener, se ind i jer selv og find ud af, hvad der er inde i jer.

I mean, look inside yourself and figure out what is inside you.

Fordi i sidste ende, er den mystiske kasse os allesammen.

Because ultimately, the mystery box is all of us.

So there's that. Then the distribution.

What's a bigger mystery box than a movie theater? You know?

Så er der distributionen. Hvad bliver en større mystisk kasse end en biograf?

You go to the theater, you're just so excited to see anything.

Er det ikke rigtigt? Du går i biografen, og er spændt på hvad som helst.

I det øjeblik lyset slukkes, er tit det bedste tidspunkt, ikke?

The moment the lights go down is often the best part.

Du er fyldt med den her utrolige --

And you're full of that amazing -- that feeling of excited anticipation.

følelsen af spændt forventning.

And often, the movie's there and it's going,

Og tit, når filmen er i gang, sker der noget

and then something happens and you go, "Oh --", and then, "Mmm ..."

og du tænker "Åh--" og så sker der noget andet, og du tænker, "Hmm".

Når det er en rigtig god film, er du med hele vejen rundt

When it's a great movie, you're along for the ride

fordi du er villig til at leve dig ind i det.

because you're willing to give yourself to it.

Så for mig, uanset om det er det, om det er TV, en iPod, computer, mobiltelefon.

So to me, whether it's a TV, an iPod, computer, cell phone --

It's funny, I'm an -- as I said, Apple fanatic --

Det er sjovt, jeg er -- som jeg sagde, en Apple fanatiker -- og en dag, for omkring et år siden,

and one day, about a year or so ago,

I was signing on online in the morning to watch Steve Jobs' keynote,

gik jeg på nettet en morgen for at se Steve Jobs' hovedtale,

because I always do.

fordi det gør jeg altid. Og han kom på, og præsenterede iPod Video,

And he came on, he was presenting the video iPod,

and what was on the enormous iPod behind him?

og hvad var der på den enorme iPod bag ham?

"Lost"! I had no idea!

"Lost!" Jeg havde ingen idé! Og jeg indså, shit, cirklen er fuldendt.

And I realized, holy shit, it'd come full circle.

The inspiration I get from the technology

Inspirationen jeg får fra teknologien, bruger nu det, jeg har lavet,

is now using the stuff that I do to sell technology. It's nuts!

inspireret af det, til at sælge teknologi. Jeg mener, det er vanvittigt! (Latter)

(Laughter)

I was going to show you a couple of other things I'm going to skip.

Jeg ville egentlig vise jer nogle flere ting, men dem springer jeg over.

Jeg vil bare gerne vise jer en ting mere, der slet ikke har noget med noget at gøre.

I'll show you one other thing that has nothing to do with anything.

Der er noget online. Jeg ved ikke om I har set det før.

This is something online; six years ago, they did this.

For seks år siden lavede de det her. Det her er noget der ligger online, af drengene

This is an online thing done by guys who had some visual effects experience.

som havde lidt erfaring med visuelle effekter. Men pointen var,

But the point was, that they were doing things

at de gjorde de her ting, som brugte de mystik-bokse, som de havde --

that were using these mystery boxes that they had -- everyone has now.

alle har nu.

What I've realized is what my grandfather did for me when I was a kid,

Det jeg har indset, er, at det min bedstefar gjorde for mig, da jeg var dreng,

everyone has access to now.

har alle adgang til nu.

You don't need to have my grandfather, though you wish you had.

Du behøver ikke min bedstefar, selv om du ville ønske du havde haft ham.

But I have to tell you --

Men jeg er nødt til at sige -- ham her laver sine ting på en Quadra 950 computer

this is a guy doing stuff on a Quadra 950 computer --

the resolution's a little bit low --

-- opløsningen er lidt lav --

ved hjælp af Infinity software, som de stoppede med at lave for 15 år siden.

using Infinity software they stopped making 15 years ago.

Han laver ting, der ser lige så fantastisk ud, som de ting jeg har set fra Hollywood.

He's doing stuff that looks as amazing

as stuff I've seen released from Hollywood.

The most incredible sort of mystery, I think,

Det mest utrolige mysterie, mener jeg, er nu spørgsmålet om, hvad der bliver det næste.

is now the question of what comes next.

Because it is now democratized.

Fordi nu er det demokratiseret. Nu kan alle skabe denne type medier -- det er over alt.

So now, the creation of media -- it's everywhere.

The stuff that I was lucky and begging for to get when I was a kid

Det jeg var heldig at få, som barn, og tiggede om, er nu tilgængeligt for alle.

is now ubiquitous.

And so, there's an amazing sense of opportunity out there.

Og derfor er der en fantastisk følelse af muligheder derude.

And when I think of the filmmakers who exist out there now

Og når jeg tænker på de filmskabere, som er derude nu, som ellers havde

who would have been silenced, you know --

who have been silenced in the past --

været hæmmede -- som tidligere blev holdt tilbage --

it's a very exciting thing.

det er meget spændende.

I used to say in classes and lectures and stuff,

Jeg plejede at sige, til undervisning og foredrag,

to someone who wants to write, "Go! Write! Do your thing."

at -- til en der gerne vil skrive, "Afsted! Skriv! Gør hvad du vil." Det er gratis,

It's free, you don't need permission.

du behøver ikke tilladelse til at skrive. Men nu kan jeg sige,

But now I can say, "Go make your movie!" There's nothing stopping you

"Gå ud og lav din film!" Der er ikke noget der holder dig tilbage

fra at gå ud og få fat i teknologien.

from going out there and getting the technology.

Du kan lease, leje, købe ting direkte i butikkerne

You can lease, rent, buy stuff off the shelf

som er lige så godt som det grej, der bliver brugt af

that is either as good, or just as good,

as the stuff that's being used by the, you know, "legit people."

citat "rigtige folk".

No community is best served when only the elite have control.

Der er ikke noget samfund, der er tjent bedst ved kun at have eliten ved magten.

And I feel like this is an amazing opportunity

Og jeg føler, at det her er en utrolig mulighed for at se hvad der ellers er derude.

to see what else is out there.

Da jeg lavede "Mission: Impossible III," havde vi fantastiske visuelle effekter.

When I did "Mission: Impossible III," we had amazing visual effects.

ILM lavede effekterne; det var utroligt.

ILM did the effects; it was incredible.

Og nærmest en drøm, for mig, at være involveret.

And sort of my dream to be involved.

Og der er et par sekvenser i filmen,

And there are a couple of sequences in the movie,

like these couple of moments I'll show you.

som de her scener, jeg gerne vil vise jer.

There's that.

Sådan.

(Video) Luther: Ethan, move!

(Explosion)

Obviously, I have an obsession with big crazy explosions.

Okay, jeg er tydeligvis besat af store, vanvittige eksplosioner.

So my favorite visual effect in the movie is the one I'm about to show you.

Min favoriteffekt i filmen er den jeg vil vise jer nu.

It's a scene in which Tom's character wakes up.

Det er en scene, hvor Toms rolle vågner op. Han er groggy. Han er helt

He's drowsy. He's crazy.

-- ude af sig selv. Og fyren vågner op,

And the guy wakes up, and he shoves this gun in his nose

og skubber en pistol op i hans næse, og skyder den her lille kapsel ind i hans hjerne

and shoots this little capsule into his brain

som han senere skal bruge til at dræbe ham, som de onde nu gør.

that he's going to use later to kill him, as bad guys do.

(Video) Brownway: Good morning.

Den onde: Godmorgen.

JJA: OK, now.

JJA: Ok, nu. Da vi skød den scene, gjorde vi det på den måde,

When we shot that scene,

the actor who had the gun, an English actor, Eddie Marsan --

at skuespilleren havde pistolen, en engelsk skuespiller, Eddie Marsan -- kanon sød fyr

sweetheart, great guy --

he kept taking the gun and putting it into Tom's nose,

-- han blev ved med at tage pistolen, og putte den ind i Toms næse, og det gjorde ondt på Tom.

and it was hurting Tom's nose.

And I learned this very early on in my career:

Og jeg lærte meget tidligt i min karriere: Lad være med at skade Toms næse. (Latter)

Don't hurt Tom's nose.

(Laughter)

There are three things you don't want to do.

Der er tre ting, du ikke skal gøre. Number to er: lad være med at skade Toms næse.

Number two is: Don't hurt Tom's nose.

Så Eddie har den her pistol -- og han er en kanon fyr -- han,

So Eddie has this gun -- and he's this sweet English guy.

denne virkelig flinke engelske fyr. Han siger: "Undskyld, jeg vil helst ikke skade dig."

He's like, "Sorry, I don't want to hurt you."

Jeg tænker -- du er nødt til -- vi er nødt til at få det her til at se godt ud.

I'm like, "We have to make this look good."

Og jeg indså, at vi var nødt til at gøre noget, fordi det virkede bare ikke, som det var.

And I realized that we had to do something because it wasn't working.

Og jeg tænkte bogstavelig talt tilbage på, hvad jeg ville have gjort med

And I thought back to what I would have done

using the Super 8 camera that my grandfather got me

Super 8 kameraet, som min bedstefar gav, i det lokale,

sitting in that room,

og jeg indså, at den hånd ikke behøvede at tilhøre Eddie Marsan. Det kunne være Toms.

and I realized that hand didn't have to be Eddie Marsan's.

It could be Tom's.

And Tom would know just how hard to push the gun.

Og Tom ville vide hvor hårdt han kunne skubbe pistolen. Han ville ikke skade sig selv.

He wouldn't hurt himself.

So we took his hand and we painted it to look a little bit more like Eddie's.

Så vi tog hans hånd, og vi malede den, så den lignede Eddies lidt mere.

Vi puttede den i Eddies ærme,

We put it in Eddie's sleeve,

and so the hand that you see --

og derfor er den hånd, I ser -- jeg viser det lige igen,

that's not Eddie's hand, that's Tom's. So Tom is playing two roles.

det er ikke Eddies hånd. Det er Toms.

Så Tom spiller to roller. (Latter)

(Laughter)

And he didn't ask for any more money.

Og han bad ikke om ekstra penge.

So here, here. Watch it again.

Så her, se. Se det igen.

There he is. He's waking up.

Her er det. Han vågner op. Han er groggy, har været igennem en masse.

He's drowsy, been through a lot.

(Video) Brownway: Good morning.

JJA: Tom's hand. Tom's hand. Tom's hand.

Toms hånd. Toms hånd. Toms hånd. (Latter) Nå.

Anyway.

So ...

Så.

(Applause)

Tak.

Thanks.

Man behøver altså ikke den mest fantastiske teknologi, for at gøre ting, der virker på film.

(Applause)

So you don't need the greatest technology to do things that can work in movies.

Og mysterie-boksen forbliver lukket, til ære for min bedstefar.

And the mystery box, in honor of my grandfather, stays closed.

Mange tak. (Bifald)

Thank you.

(Applause)