Shekhar Kapur: We are the stories we tell ourselves

Translator: Kristy Lantang Reviewer: TED Translators admin

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

Saya diminta syuting film "Elizabeth,"

sambil membahas ikon Inggris agung ini

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

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

"Ia wanita fantastis, ia serba bisa.

How are we going to introduce her?"

Bagaimana kita akan mengenalkannya?"

Kami mengunjungi studio, produser, dan penulisnya,

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

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

...mereka bilang, "Shekhar, menurutmu bagaimana?"

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

Saya bilang, "Dia sedang menari."

And I could see everybody looked at me,

Saya lihat semuanya memandang saya,

somebody said, "Bollywood."

...seseorang bilang, "Bollywood."

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

Lainnya bilang, "Dia dibayar berapa sih?"

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

Orang ketiga bilang, "Mari cari sutradara lain."

I thought I had better change.

Saya pikir saya harus berubah.

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

Kami banyak diskusi tentang pengenalan Elizabeth.

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

Saya bilang, "Baik, mungkin saya terlalu Bollywood.

Maybe Elizabeth, this great icon, dancing?

Mungkinkah ikon Elizabeth ini menari? Maksudmu apa?"

What are you talking about?"

So I rethought the whole thing,

Jadi saya olah kembali ide ini,

and then we all came to a consensus.

...dan kami sepakat.

And here was the introduction of this

Ini cara kami memperkenalkan

great British icon called "Elizabeth."

...ikon Inggris agung bernama "Elizabeth."

Leicester: May I join you, my lady?

Leicester: Bolehkah saya bergabung, Putri?

Elizabeth: If it please you, sir.

Elizabeth: Jika Anda mau, Tuan.

(Music)

(Musik)

Shekhar Kapur: So she was dancing.

Shekhar Kapur: Jadi ia menari.

So how many people who saw the film did not get

Berapa orang yang melihat film ini tidak mengerti...

that here was a woman in love,

...bahwa wanita ini jatuh cinta...

that she was completely innocent

...bahwa dia sangat polos...

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

...dan menikmati kebahagiaan dalam kemudaannya?

And how many of you did not get that?

Berapa orang yang tak menangkap itu?

That's the power of visual storytelling,

Itu kekuatan dongeng visual.

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

Itu kekuatan dari tarian dan musik.

the power of not knowing.

Kekuatan dari ketidaktahuan.

Saat menyutradarai film ini,

When I go out to direct a film,

...setiap hari kami terlalu banyak bersiap dan berpikir.

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

Knowledge becomes a weight upon wisdom.

Pengetahuan menjadi beban bukan kebijakan.

You know, simple words lost

Kata-kata sederhana menghilang seiring bertambahnya pengalaman.

in the quicksand of experience.

So I come up, and I say,

Jadi saya pikir, "Apa yang akan saya lakukan hari ini?

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

Saya tidak akan melakukan rencana saya,

and I put myself into absolute panic.

...lalu membuat diri sendiri sangat panik.

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

Itu cara saya mengosongkan pikiran.

getting rid of this mind that says,

Mengosongkan pikiran yang berkata...

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

"Kau tahu betul sedang apa.

Kau seorang sutradara selama bertahun-tahun."

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

So I've got to get there

Saya harus begitu, dan benar-benar panik.

and be in complete panic.

Sebagai sikap simbolis, saya robek naskah.

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

I go and I panic myself, I get scared.

Membuat diri sendiri panik.

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

Saya sedang panik saat ini. Saya semakin gugup.

Tidak tahu mau bilang apa, melakukan apa.

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

Saya tidak mau ke sana.

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

Sekalinya masuk, A.D. saya berkata,

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

"Anda tahu mau apa, Tuan?" Saya berkata, "Tentu saja."

And the studio executives, they would say,

Para eksekutif studio akan bilang,

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

"Lihat Shekhar. Dia sangat siap."

Di dalam, saya baru mendengarkan Nusrat Fateh Ali Khan...

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

because he's chaotic.

...karena ia kisruh.

I'm allowing myself to go into chaos

Saya membuat diri saya kisruh.

Sebab jika tidak, saya harap akan ada kebenaran.

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

All preparation is preparation.

Persiapan adalah persiapan.

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

Saya tak tahu apakah itu jujur.

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

Saya bahkan tidak tahu apakah itu benar.

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

Kebenaran datang pada waktunya secara alami,

and if you get five great moments

...dan jika Anda mengalami lima momen hebat...

of great, organic stuff

...yang bersifat alami...

in your storytelling, in your film,

...dalam cerita Anda, dalam film...

your film, audiences will get it.

...maka penonton Anda akan mengerti.

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

Saya mencari momen itu, berdiri di sana...

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

...berkata, "Saya kehabisan kata-kata."

So, ultimately, everybody's looking at you,

Akhirnya semua orang memandangimu,

200 people at seven in the morning

...dua ratus orang, pukul 07:00...

...yang tiba seperempat jam sebelumnya Anda...

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

and everybody's saying,

dan semua orang bilang,

"Apa yang pertama? Apa yang akan terjadi?"

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

And you put yourself into a state of panic

Anda menjadi panik...

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

...saat Anda tidak tahu, maka tidak tahulah Anda.

And so, because you don't know,

Dan karena ketidaktahuan...

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

...Anda berdoa pada semesta, dan karena itu...

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

...sesuatu itu -- saya akan mencoba mengakses semesta...

the way Einstein -- say a prayer --

...dengan cara Einstein -- berdoa --

accessed his equations,

...mengakses persamaannya...

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

...dari sumber yang sama. Saya mencari sumber yang sama...

...karena kreatifitas datang dari sumber yang sama...

because creativity comes from absolutely the same source

that you meditate somewhere outside yourself,

...dengan bermeditasi di luar diri sendiri...

outside the universe.

...di luar semesta.

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

Mencari sesuatu yang datang menabrak.

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

Sampai tabrakan itu terjadi, tidak akan ada syuting.

So what do you do?

Jadi bagaimana?

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

Kata Cate, "Shekhar, saya harus bagaimana?

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

Saya menjawab, "Cate, Anda maunya apa?" (Tawa)

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

"Anda aktor hebat, dan saya senang membebaskan aktor saya.

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

Lakukan apa yang Anda ingin lakukan."

(Laughter)

(Tawa)

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

Apa yang saya lakukan? Mengulur waktu.

I'm trying to buy time.

Berusaha mengulur waktu.

Jadi hal pertama yang saya pelajari dari mendongeng,

So the first thing about storytelling that I learned,

and I follow all the time is: Panic.

...dan yang saya lakukan setiap kali, adalah panik.

Panic is the great access of creativity

Kepanikan adalah akses menuju kreatifitas...

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

...karena itulah satu-satunya cara mengosongkan pikiran.

Get rid of your mind.

Kosongkan pikiranmu.

Get out of it, get it out.

Keluarlah. Keluarkan.

And let's go to the universe because

Mari pulang ke semesta...

there's something out there that is more

...karena ada sesuatu di sana yang lebih

truthful than your mind,

benar daripada pikiran,

that is more truthful than your universe.

yang lebih benar dari semestamu.

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

[tak jelas], Anda mengatakannya kemarin. Saya hanya mengulangnya

because that's what I follow constantly

karena itu yang selalu saya ikuti.

to find the shunyata somewhere, the emptiness.

mencari kesunyatan, kekosongan.

Out of the emptiness comes a moment of creativity.

Dari kekosongan datangnya momen kreatifitas.

So that's what I do.

Itu cara saya.

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

Waktu masih anak-anak -- sekitar umur delapan tahun.

You remember how India was. There was no pollution.

Ingat seperti apa India saat itu. Tak ada polusi.

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

Di Delhi, di mana kami tinggal -- kami menyebutnya chata atau khota.

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

Khota sekarang berkonotasi buruk. Artinya "teras mereka" --

and we used to sleep out at night.

dan kami dulu tidur di luar.

At school I was being just taught about physics,

Di sekolah saya hanya diajarkan fisika,

and I was told that

dan diberitahu bahwa

if there is something that exists,

jika ada sesuatu yang eksis

then it is measurable.

maka dapat diukur.

If it is not measurable,

Jika tak dapat diukur,

it does not exist.

maka ia tak ada.

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

Pada malam hari saya rebah di bawah langit jernih

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

sebagaimana Delhi dulu, semasa kanak-kanak saya,

and I used to stare at the universe and say,

melototi semesta dan bilang,

"How far does this universe go?"

"Sebesar apakah semesta?"

My father was a doctor.

Ayah saya seorang dokter.

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

Saya akan berpikir, "Ayah, sebesar apakah semesta?"

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

Katanya, "Nak, ia selamanya."

So I said, "Please measure forever

Saya bilang, "Ukurlah selamanya

because in school they're teaching me

karena di sekolah mereka mengajari

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

bahwa sesuatu yang tak terukur, tak ada.

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

Bagiku itu tak masuk akal."

So, how far does eternity go?

Jadi seluas apakah keabadian?

What does forever mean?

Apa artinya selamanya?

And I would lie there crying at night

Pada malam hari saya akan menangis

because my imagination could not touch creativity.

karena imajinasi saya tak mampu menyentuh kreatifitas.

So what did I do?

Apa yang saya lakukan?

At that time, at the tender age of seven,

Pada usia tujuh tahun,

I created a story.

saya bercerita.

What was my story?

Apa cerita saya?

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

Entah mengapa, tapi sayang ingat.

There was a woodcutter

Ada seorang tukang kayu

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

yang menangkat kapaknya, hendak membelah kayu,

and the whole galaxy is one atom of that ax.

seluruh gugusan adalah satu atom kapak itu.

And when that ax hits that piece of wood,

Saat kapak itu membelah kayu,

that's when everything will destroy

adalah saatnya semua akan hancur

and the Big Bang will happen again.

dan Big Bang akan terjadi lagi.

But all before that there was a woodcutter.

Tapi sebelum itu ada sang tukang kayu.

And then when I would run out of that story,

Dan saya akan kehabisa cerita,

I would imagine that woodcutter's universe

membayangkan semesta si tukang kayu

is one atom in the ax of another woodcutter.

berupa satu atom dalam kapak tukang kayu lainnya.

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

Setiap kali, saya akan mengulang cerita itu lagi dan lagi

and get over this problem,

dan menyelesaikan masalah ini,

and so I got over the problem.

selesailah masalah ini.

How did I do it? Tell a story.

Bagaimana caranya? Dengang dongeng?

So what is a story?

Jadi apakah sebuah dongeng?

A story is our -- all of us --

Dongeng, adalah kita semua.

we are the stories we tell ourselves.

Kita adalah dongeng yang kita ulangi.

In this universe, and this existence,

Semesta ini, keberadaan ini,

where we live with this duality

dimana kita hidup dengan dualitas ini

of whether we exist or not

antara ada dan tiada

and who are we,

dan siapa diri kita,

the stories we tell ourselves are the stories

cerita-cerita yang kita tuturkan

that define the potentialities

adalah penentu potensi

of our existence.

keberadaan kita.

We are the stories we tell ourselves.

Kita adalah dongeng yang kita tuturkan.

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

Seluas pandangan kita terhadap dongeng.

A story is the relationship

Cerita adalah sebuah pertalian

that you develop between who you are,

yang Anda kembangkan antara diri Anda sekarang,

or who you potentially are,

atau diri yang berpotensi menjadi,

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

dengan dunia tak terbatas, dan itulah mitologi kita.

We tell our stories,

Kita bercerita,

and a person without a story does not exist.

karena seseorang tanpa cerita tak eksis.

So Einstein told a story

Einstein mendongeng

and followed his stories and came up with theories

lalu mengikuti dongengnya sampai menjadi teori

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

dan mengikuti teorinya sampai menjadi persamaan.

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

Alexander pernah memiliki dongeng yang dituturkan ibunya,

and he went out to conquer the world.

yang mengantarnya menguasai dunia.

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

Kita semua mempunyai cerita untuk diikuti.

We tell ourselves stories.

Kita mendongeng pada diri sendiri.

So, I will go further, and I say,

Jadi boleh dibilang,

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

Saya bercerita, maka saya ada.

I exist because there are stories,

Saya ada karena ada cerita,

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

dan jika tak ada cerita, kita tak berada.

We create stories to define our existence.

Kita bercerita untuk menjelaskan keberadaan kita.

If we do not create the stories,

Tanpa cerita,

we probably go mad.

mungkin kita akan gila.

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

Tak tahu. Saya tak yakin, tapi ini yang saya lakukan selama ini.

Now, a film.

Sekarang, sebuah film.

A film tells a story.

Film menuturkan cerita.

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

Saya sering bertanya-tanya saat membuat film -- misalnya film tentang Buddha --

and I often wonder: If Buddha had all the elements

Jika Buddha memiliki segalanya

that are given to a director --

yang diberikan pada sutradara,

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

jika Ia memiliki musik, visual, dan kamera video,

would we get Buddhism better?

apakah kita akan lebih mengerti Buddhisme?

But that puts some kind of burden on me.

Tapi itu memberatkan saya.

I have to tell a story

Saya harus bercerita

in a much more elaborate way,

dengan cara yang lebih terperinci,

but I have the potential.

tapi saya memiliki potensi.

It's called subtext.

Yang disebut makna terselubung.

When I first went to Hollywood, they said --

Saat pertama kali ke Hollywood, mereka bilang --

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

saya selalu membicarakan makna terselubung, dan agen saya bilang

"Would you kindly not talk about subtext?"

"Bisa tidak Anda tak membahas makna terselubung?"

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

Saya bilang, "Kenapa?". Katanya, "Karena tidak ada yang akan memberimu film

if you talk about subtext.

jika Anda membahas makna terselubung.

Just talk about plot

Bahas saja plot

and say how wonderful you'll shoot the film,

dan bilang betapa menyenangkan untuk membuat film,

what the visuals will be."

apa saja visual yang tampak."

So when I look at a film,

Jadi saat menonton film,

here's what we look for:

ini yang kita cari,

We look for a story on the plot level,

cerita di level plot,

then we look for a story

lalu mencari cerita

on the psychological level,

di level psikologis,

then we look for a story on the political level,

lalu mencari cerita di level politik,

then we look at a story

lalu mencari cerita

on a mythological level.

di level mitologi.

And I look for stories on each level.

Saya mencari cerita pada setiap level.

Now, it is not necessary

Tidak wajib

that these stories agree with each other.

bagi semua cerita untuk saling sepakat.

What is wonderful is,

Yang indah adalah

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

seringkali, cerita-cerita itu akan saling berlawanan.

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

Saya akan bekerjasama dengan Rahman, musikus hebat,

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

dan sering bilang padanya, "Jangan ikuti apa yang sudah diceritakan skrip.

Find that which is not.

Ceritakan apa yang belum diceritakan.

Find the truth for yourself,

Temukan kebenaran dalam dirimu,

and when you find the truth for yourself,

karena saat kebenaran itu kau temukan,

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

meski mungkin bertentangan dengan plot,

but don't worry about it."

jangan khawatirkan itu."

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

Sekuelnya "Elizabeth", "Masa Keemasan."

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

Waktu membuat sekuel "Elizabeth," ada cerita

the writer was telling:

yang dituturkan penulis.

A woman who was threatened

Seorang wanita terancam

by Philip II

oleh Philip II

and was going to war,

dan hampir masuk perang,

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

hampir berperang, jatuh cinta dengan Walter Raleigh.

Because she fell in love with Walter Raleigh,

Karena dia jatuh cinta dengan Walter Raleigh,

she was giving up the reasons she was a queen,

dia mulai melupakan alasannya menjadi ratu.

and then Walter Raleigh

Lalu Walter Raleigh

fell in love with her lady in waiting,

jatuh cinta dengan pelayan ratu,

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

dan Elizabeth harus memutuskan apa akan menjadi ratu berperang

or she wanted...

apa mau...

Here's the story I was telling:

Ini cerita yang saya tuturkan.

The gods up there,

Dewa di atas sana.

there were two people.

Ada dua orang.

There was Philip II, who was divine

Ada Philip II, yang kedewataan

because he was always praying,

karena selalu berdoa,

and there was Elizabeth, who was divine,

ada Elizabeth, yang juga kedewataan,

but not quite divine because she thought she was divine,

tapi tak sepenuhnya karena meski mengira dirinya kedewataan,

but the blood of being mortal flowed in her.

darah kefanaan mengalir dalam tubuhnya.

But the divine one was unjust,

Karena yang kedewataan tak adil,

so the gods said,

maka para Dewa bilang,

"OK, what we need to do is

"Okay, apa yang harus kita lakukan adalah

help the just one."

membantu yang adil."

And so they helped the just one.

Jadi yang adil dibantu.

And what they did was, they sent Walter Raleigh down

Yang mereka lakukan adalah mengirim Walter Raleigh

to physically separate her mortal self

untuk memisahkan secara fisik diri Elizabeth yang fana

from her spirit self.

dengan yang abadi.

And the mortal self was the girl

Dirinya yang fana adalah seorang gadis

that Walter Raleigh was sent,

yang dikirim ke Walter Raleigh

and gradually he separated her

dan perlahan memisahkannya

so she was free to be divine.

agar Elizabeth bebas menjadi Dewi.

And the two divine people fought,

Dan kedua manusia dewa bertempur

and the gods were on the side of divinity.

dan para Dewa mendukung ketuhanan.

Of course, all the British press got really upset.

Tentunya pers Inggris marah.

They said, "We won the Armada."

Kata mereka, "Kami memenangkan Armada."

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

Kata saya, "Tapi badailah yang memenangkan Armada."

The gods sent the storm."

Para dewa yang mengirimkan badai."

So what was I doing?

Apa yang saya lakukan?

I was trying to find a mythic reason

Berusaha menemukan alasan mistis

to make the film.

untuk membuat film ini.

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

Waktu saya tanyakan pada Cate Blanchett, "Tentang apakah film ini?"

She said, "The film's about a woman

Dia bilang, "Tentang seorang wanita

coming to terms with growing older."

yang dalam proses berdamai dengan umurnya."

Psychological.

Psikologis.

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

Penulisnya bilang ini cerita sejarah, plot.

I said "It's about mythology,

Saya bilang ini tentang mitologi,

the gods."

para dewa.

So let me show you a film --

Mari saya tunjukkan sebuah film --

a piece from that film --

sepotong dari film itu --

and how a camera also --

dan bagaimana sebuah kamera juga --

so this is a scene, where in my mind,

dalam cuplikan ini, di kepala saya,

she was at the depths of mortality.

Elizabeth berada di dasar kefanaan.

She was discovering what mortality actually means,

Ia tengah menemukan arti sebenarnya kefanaan,

and if she is at the depths of mortality,

bahwa ia memang sedang di dasarnya,

what really happens.

apa yang sebenarnya terjadi.

And she's recognizing the dangers of mortality

Dan ia mulai mengenali bahaya kefanaan

and why she should break away from mortality.

dan alasan mengapa ia harus melepaskan diri darinya.

Remember, in the film, to me,

Ingat, bagi saya di film ini

both her and her lady in waiting

baik Elizabeth maupun pelayannya

were parts of the same body,

adalah satu bagian dari wujud yang sama,

one the mortal self

yang satu diri yang fana

and one the spirit self.

satunya lagi abadi.

So can we have that second?

Bagaimana mencapai yang kedua?

(Music)

(Musik)

Elizabeth: Bess?

Elizabeth: Bess?

Bess?

Bess?

Bess Throckmorton?

Bess Throckmorton?

Bess: Here, my lady.

Bess: Hamba, Paduka.

Elizabeth: Tell me, is it true?

Elizabeth: Benarkah?

Are you with child?

Apakah kau hamil?

Are you with child?

Apakah kau hamil?

Bess: Yes, my lady.

Bess: Ya, Paduka.

Elizabeth: Traitorous.

Elizabeth: Pengkhianat.

You dare to keep secrets from me?

Kau berani menyimpan rahasia dariku?

You ask my permission before you rut,

Minta dulu izinku sebelum kawin,

before you breed.

sebelum beranak.

My bitches wear my collars.

Semua anjingku memakai kalung.

Do you hear me? Do you hear me?

Kau dengar? Kau dengar?

Walsingham: Majesty. Please, dignity. Mercy.

Walsingham: Paduka. Kumohon, kehormatan. Kasihan.

Elizabeth: This is no time for mercy, Walsingham.

Elizabeth: Ini bukan waktunya untuk kasihan, Walsingham.

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

Pergi sana urusi saudaramu yang pengkhianat dan biarkan aku mengurus urusanku sendiri.

Is it his?

Miliknya?

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

Katakan. Anaknya kah?

Bess: Yes.

Bess: Ya.

My lady,

Paduka,

it is my husband's child.

ini adalah anak suami hamba.

Elizabeth: Bitch! (Cries)

Elizabeth: Jalang! (Teriak)

Raleigh: Majesty.

Raleigh: Paduka.

This is not the queen I love and serve.

Ini bukan ratu yang hamba cintai dan layani.

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

Elizabeth: Orang ini merayu pelayan ratu,

and she has married without royal consent.

dan perempuan ini kawin tanpa izin kerajaan.

These offenses are punishable by law. Arrest him.

Pelanggaran ini harus dihukum. Tangkap dia.

Go.

Pergi.

You no longer have the queen's protection.

Kalian tak lagi di bawah lindungan ratu.

Bess: As you wish, Majesty.

Bess: Baik, Paduka.

Elizabeth: Get out! Get out! Get out!

Elizabeth: Keluar! Keluar! Keluar!

Get out.

Keluar.

(Music)

(Musik)

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

Shekhar Kapur: Apa yang saya lakukan?

Elizabeth has realized,

Elizabeth menyadari,

and she's coming face-to-face

ia berhadapan langsung

with her own sense of jealousy,

dengan kecemburuannya,

her own sense of mortality.

kefanaannya sendiri.

What am I doing with the architecture?

Apa yang saya lakukan dengan arsitektur?

The architecture is telling a story.

Arsitektur menceritakan sesuatu.

The architecture is telling a story

Arsitektur menceritakan

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

tentang bagaimana, meskipun ini adalah wanita paling berkuasa

in the world at that time,

di dunia saat itu,

there is the other, the architecture's bigger.

ada yang lain, arsitektur yang lebih besar.

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

Batu yang lebih besar darinya karena batu anaorganik.

It'll survive her.

Ia akan hidup lebih lama.

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

Ia menceritakan, batu adalah bagian dari takdirnya.

Not only that, why is the camera looking down?

Mengapa kamera menyorot ke bawah?

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

Kamera menyorot ke bawah karena Elzabeth dalam sumur.

She's in the absolute well

Dalam sumur absolut

of her own sense of being mortal.

kesadarannya akan kefanaan.

That's where she has to pull herself out

Dari sana ia harus menarik diri

from the depths of mortality,

dari dalam kefanaan,

come in, release her spirit.

membebaskan dirinya yang abadi.

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

Saat itu, dalam pikiran saya,

both Elizabeth and Bess are the same person.

Elizabeth dan Bess adalah orang yang sama.

But that's the moment

Tapi ada saat

she's surgically removing herself from that.

dimana Elizabeth memisahkan dirinya.

So the film is operating on

Film ini mengupas

many many levels in that scene.

banyak level pada adegan tersebut.

And how we tell stories

Bagaimana kita mendongeng

visually, with music, with actors,

secara visual, dengan musik dan aktor,

and at each level it's a different sense

dan pada setiap level ada rasa yang berbeda

and sometimes contradictory to each other.

yang kadang saling berlawanan.

So how do I start all this?

Bagaimana saya mengulas ini?

What's the process of telling a story?

Apakah proses mendongeng?

About ten years ago,

10 tahun lalu,

I heard this little thing from a politician,

Saya cerita kecil ini dari seorang politisi,

not a politician that was very well respected in India.

bukan politisi yang sangat dihormati di India.

And he said that these people in the cities,

Katanya orang kota,

in one flush, expend as much water

dengan sekali tarik, menghabiskan sebanyak air

as you people in the rural areas

yang digunakan orang desa

don't get for your family for two days.

untuk sekeluarga selama dua hari.

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

Itu menyentuh nalar dan saya pikir ada benarnya.

I went to see a friend of mine,

Saya pergi menemui teman,

and he made me wait

dan dia membuat saya menunggu

in his apartment in Malabar Hill

di apartmennya di Malabar Hill

on the twentieth floor,

lantai duapuluh,

which is a really, really upmarket area in Mumbai.

di daerah yang sangat, sangat elit di Mumbai.

And he was having a shower for 20 minutes.

Ia mandi selama 20 menit.

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

Saya bosan dan pergi, saat keluar,

I drove past the slums of Bombay,

saya melewati area kumuh Bombay,

as you always do,

seperti selalu,

and I saw lines and lines in the hot midday sun

dan melihat barisan panjang di bawah matahari siang

of women and children with buckets

wanita dan anak-anak dengan ember

waiting for a tanker

menunggu mobil tanki

to come and give them water.

untuk datang dan memberi mereka air.

And an idea started to develop.

Dan sebuah ide mulai berkembang.

So how does that become a story?

Bagaimana itu menjadi sebuah cerita?

I suddenly realized that we are heading towards disaster.

Tiba-tiba saya menyadari bahwa kita menuju malapetaka.

So my next film is called "Paani"

Jadi film saya berikutnya "Paani"

which means water.

yang artinya air.

And now, out of the mythology of that,

Dari mitologi itu,

I'm starting to create a world.

saya mulai menciptakan dunia.

What kind of world do I create,

Dunia macam apa yang saya ciptakan,

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

dan dari mana ide dan desain dunia itu datang?

So, in my mind, in the future,

Dalam pikiran saya, di masa depan,

they started to build flyovers.

mereka mulai membangun flyover.

You understand flyovers? Yeah?

Mengerti flyover? Yeah?

They started to build flyovers

Mereka mulai membangun flyover

to get from A to B faster,

untuk mencapai titik B dari titik A lebih cepat

but they effectively went from one area of relative wealth

tapi praktis mengikat satu daerah makmur

to another area of relative wealth.

dengan daerah makmur lainnya.

And then what they did was

Apa yang mereka lakukan

they created a city above the flyovers.

adalah menciptakan sebuah kota di atas flyover.

And the rich people moved to the upper city

Dan yang kaya pindah ke bagian atas kota

and left the poorer people in the lower cities,

meninggalkan yang miskin di kota bagian bawah,

about 10 to 12 percent of the people

10 sampai 12 persen populasi

have moved to the upper city.

pindah ke kota atas.

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

Darimana datangnya kota atas dan kota bawah ini?

There's a mythology in India about --

Ada mitologi India tentang --

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

katanya dalam bahasa Hindi,

[Hindi]

[Hindi]

Right. What does that mean?

Apa artinya?

It says that the rich are always sitting on the shoulders

Katanya yang kaya selalu duduk di atas bahu

and survive on the shoulders of the poor.

dan hidup di atas bahu yang miskin.

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

Dari mitologi itu datangnya kota atas dan kota bawah.

So the design has a story.

Maka desain tersebut memiliki donggeng.

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

Apa yang terjadi adalah, penghuni kota atas,

they suck up all the water.

menghisap seluruh air.

Remember the word I said, suck up.

Ingat kata itu, menghisap.

They suck up all the water, keep to themselves,

Menghisap seluruh air, menyimpannya sendiri,

and they drip feed the lower city.

dan menetesi kota bawah sedikit-sedikit.

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

Jika terjadi revolusi, mereka memotong air.

And, because democracy still exists,

Dan karena demokrasi masih ada,

there's a democratic way in which you say

ada demokrasi saat mengatakan

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

"Beri kami apa yang kami mau, kami berikan kalian air."

So, okay my time is up.

Okay, waktu saya habis.

But I can go on about telling you

Tapi saya bisa terus menceritakan

how we evolve stories,

begaiman dongeng berkembang,

and how stories effectively are who we are

dan bagaimana dongeng adalah diri kita sendiri

and how these get translated into the particular discipline

dan bagaimana ini diterapkan pada disiplin tertentu

that I am in, which is film.

dalam bidang saya, yaitu film.

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

Pada akhirnya, apalah dongeng? Sebuah kontradiksi.

Everything's a contradiction.

Segalanya berupa kontradiksi.

The universe is a contradiction.

Semesta adalah kontradiksi.

And all of us are constantly looking for harmony.

Dan kita semua tengah mencari harmoni.

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

Saat terjaga, malam dan siang adalah kontradiksi.

But you get up at 4 a.m.

Tapi bangun pukul 4 AM.

That first blush of blue is where the night and day

Pada rekah rona biru dimana malam dan siang bertemu

are trying to find harmony with each other.

tengah mencari harmoni satu sama lain.

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

Harmoni adalah kunci musik yang tak diberikan Mozart,

but somehow the contradiction of his notes suggest that.

tapi diacukan oleh kunci-kuncinya yang berlawanan.

All contradictions of his notes suggest the harmony.

Semua kontradiksi musiknya mengacukan harmoni.

It's the effect of looking for harmony

Efek dari mencari harmoni

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

dalam kontradiksi yang hidup di benak penyair,

a contradiction that exists in a storyteller's mind.

kontradiksi yang hidup di benak pendongeng.

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

Di benak pendongeng, adalah kontradiksi moralitas.

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

Di benak penyair, konflik kata-kata,

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

di benak semesta, antara siang dan malam.

In the mind of a man and a woman,

Di benak lelaki dan perempuan,

we're looking constantly at

kita selalu menemukan

the contradiction between male and female,

kontradiksi antara lelaki dan perempuan,

we're looking for harmony within each other.

mencari harmoni dalam sesama.

The whole idea of contradiction,

Seluruh ide kontradiksi,

but the acceptance of contradiction

tapi penerimaan kontradiksi,

is the telling of a story, not the resolution.

adalah proses mendongeng itu, bukan resolusinya.

The problem with a lot of the storytelling in Hollywood

Masalah pada kebanyakan cerita Hollywood

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

dan banyak film dan [tak jelas] katanya,

that we try to resolve the contradiction.

kita berusaha menyelesaikan kontradiksi.

Harmony is not resolution.

Harmoni bukan resolusi.

Harmony is the suggestion of a thing

Harmoni adalah acuan

that is much larger than resolution.

yang jauh lebih luas daripada resolusi.

Harmony is the suggestion of something

Harmoni adalah acuan

that is embracing and universal

yang memeluk dan universal

and of eternity and of the moment.

dan menyentuh keabadian sekaligus saat ini.

Resolution is something that is far more limited.

Resolusi jauh lebih terbatas dari itu.

It is finite; harmony is infinite.

Resolusi terbatas, harmoni tak terbatas.

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

Dongeng, sebagaimana kontradiksi lain di dunia,

is looking for harmony and infinity

mencari harmoni dan ketakterbatasan

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

dalam resolusi moral, menyelesaikan yang satu tapi melepaskan lainnya,

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

melepaskan lainnya dan menciptakan pertanyaan yang sangat penting.

Thank you very much.

Terima kasih banyak.

(Applause)

(Tepuk tangan)