David Hoffman: How would you feel if you lost everything?

55,610 views ใƒป 2008-07-10

TED


ืื ื ืœื—ืฅ ืคืขืžื™ื™ื ืขืœ ื”ื›ืชื•ื‘ื™ื•ืช ื‘ืื ื’ืœื™ืช ืœืžื˜ื” ื›ื“ื™ ืœื”ืคืขื™ืœ ืืช ื”ืกืจื˜ื•ืŸ.

ืžืชืจื’ื: Noam Sela ืžื‘ืงืจ: Shlomo Adam
00:19
I had a fire nine days ago.
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ื”ื™ืชื” ืืฆืœื™ ืฉืจื™ืคื” ืœืคื ื™ ืชืฉืขื” ื™ืžื™ื.
00:23
My archive:
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ื”ืืจื›ื™ื•ืŸ ืฉืœื™:
00:25
175 films, my 16-millimeter negative,
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175 ืกืจื˜ื™ื, ืชืฉืœื™ืœื™ ื”-16 ืžื™ืœื™ืžื˜ืจ ืฉืœื™,
00:28
all my books, my dad's books, my photographs.
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ื›ืœ ื”ืกืคืจื™ื ืฉืœื™, ืกืคืจื™ื• ืฉืœ ืื‘ื™,
00:31
I'd collected --
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ืฉืืกืคืชื™ --
00:33
I was a collector, major, big-time.
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ื”ื™ื™ืชื™ ืืกืคืŸ, ื’ื“ื•ืœ, ืจืฆื™ื ื™ --
00:35
It's gone.
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ื”ื›ืœ ื”ืœืš.
00:38
I just looked at it,
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ืื ื™ ืจืง ืฆืคื™ืชื™,
00:40
and I didn't know what to do.
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ื•ืœื ื™ื“ืขืชื™ ืžื” ืœืขืฉื•ืช.
00:43
I mean, this was --
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ื–ื” ื”ื™ื” --
00:45
was I my things?
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ื”ืื ืื ื™ ื”ื™ื™ืชื™ ื”ื—ืคืฆื™ื ืฉืœื™?
00:48
I always live in the present -- I love the present.
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ืื ื™ ืชืžื™ื“ ื—ื™ ื‘ื”ื•ื•ื” -- ืื ื™ ืื•ื”ื‘ ืืช ื”ื”ื•ื•ื”.
00:51
I cherish the future.
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ืื ื™ ืžื•ืงื™ืจ ืืช ื”ืขืชื™ื“.
00:54
And I was taught some strange thing as a kid,
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ื•ื›ืฉื”ื™ื™ืชื™ ื™ืœื“ ืœื™ืžื“ื• ืื•ืชื™ ื›ืžื” ื“ื‘ืจื™ื ืžื•ื–ืจื™ื,
00:57
like, you've got to make something good out of something bad.
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ืœืžืฉืœ, ืฉื—ื™ื™ื‘ื™ื ืœื”ืคื™ืง ื˜ื•ื‘ ืžืŸ ื”ืจืข.
00:59
You've got to make something good out of something bad.
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ื—ื™ื™ื‘ื™ื ืœื”ืคื™ืง ืžืฉื”ื• ื˜ื•ื‘ ืžื“ื‘ืจ ืจืข.
01:01
This was bad! Man, I was --
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ื–ื” ื”ื™ื” ื ื•ืจื! ืฉืžืขื•, ืื ื™ ื”ื™ื™ืชื™ --
01:03
I cough. I was sick.
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ืื ื™ ื”ืฉืชืขืœืชื™. ืœื ื”ืจื’ืฉืชื™ ื˜ื•ื‘.
01:05
That's my camera lens. The first one --
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ื–ืืช ืขื“ืฉืช ื”ืžืฆืœืžื” ืฉืœื™. ื”ืจืืฉื•ื ื” --
01:07
the one I shot my Bob Dylan film with 35 years ago.
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ื–ื• ืฉื‘ื” ืฆื™ืœืžืชื™ ืืช ืกืจื˜ื™ ืขืœ ื‘ื•ื‘ ื“ื™ืœืŸ, ืœืคื ื™ 35 ืฉื ื”.
01:10
That's my feature film. "King, Murray"
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ื–ื” ื”ืกืจื˜ ื‘ืื•ืจืš-ืžืœื ืฉืœื™. "ืงื™ื ื’, ืžืืจื™"
01:12
won Cannes Film Festival 1970 --
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ื–ื›ื” ื‘ืคืกื˜ื™ื‘ืœ ืงืืŸ 1970 --
01:14
the only print I had.
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ื”ืขื•ืชืง ื”ื™ื—ื™ื“ ืฉื”ื™ื” ืœื™.
01:17
That's my papers.
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ืืœื• ื”ืจืฉื™ืžื•ืช ืฉืœื™.
01:19
That was in minutes -- 20 minutes.
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ื–ื” ืงืจื” ื‘ืชื•ืš ื“ืงื•ืช -- 20 ื“ืงื•ืช.
01:21
Epiphany hit me. Something hit me.
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ื”ื™ื›ืชื” ื‘ื™ ื”ืืจื”. ืžืฉื”ื• ื”ื™ื›ื” ื‘ื™.
01:23
"You've got to make something good out of something bad,"
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"ื—ื™ื™ื‘ื™ื ืœื”ืคื™ืง ืžืฉื”ื• ื˜ื•ื‘ ืžื“ื‘ืจ ืจืข,"
01:27
I started to say to my friends, neighbors, my sister.
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ื”ืชื—ืœืชื™ ืœื”ื’ื™ื“ ืœื—ื‘ืจื™ื™, ืœืฉื›ื ื™ื™, ืœืื—ื•ืชื™.
01:29
By the way, that's "Sputnik." I ran it last year.
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ื“ืจืš ืื’ื‘, ื”"ืกืคื•ื˜ื ื™ืง" ื”ื–ื”, ื”ืงืจื ืชื™ ืื•ืชื• ืฉื ื” ืฉืขื‘ืจื”.
01:31
"Sputnik" was downtown, the negative. It wasn't touched.
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"ืกืคื•ื˜ื ื™ืง" ื”ื™ื” ื‘ืžืจื›ื– ื”ืขื™ืจ, ื”ืชืฉืœื™ืœ. ืœื ืงืจื” ืœื• ื›ืœื•ื.
01:35
These are some pieces of things I used in my Sputnik feature film,
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ืืœื• ื›ืžื” ื—ืชื™ื›ื•ืช ืฉืœ ื“ื‘ืจื™ื ืฉืฉื™ืžืฉื• ืื•ืชื™ ื‘ืกืจื˜ ืฉืœื™ ืกืคื•ื˜ื ื™ืง,
01:38
which opens in New York in two weeks
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ืฉื‘ืขื•ื“ ืฉื‘ื•ืขื™ื™ื ื™ื•ืงืจืŸ ื‘ื‘ื›ื•ืจื” ื‘ื ื™ื•-ื™ื•ืจืง
01:40
downtown.
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ื‘ืžืจื›ื– ื”ืขื™ืจ.
01:44
I called my sister. I called my neighbors. I said, "Come dig."
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ื”ืชืงืฉืจืชื™ ืœืื—ื•ืชื™. ื”ืชืงืฉืจืชื™ ืœืฉื›ื ื™ื™. ืืžืจืชื™, "ื‘ื•ืื• ืœื—ืคื•ืจ."
01:46
That's me at my desk.
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ื–ื” ืื ื™ ืœื™ื“ ื”ืฉื•ืœื—ืŸ ืฉืœื™.
01:50
That was a desk took 40-some years to build.
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ื–ื” ื”ื™ื” ืฉื•ืœื—ืŸ ืฉืœืงื— ื‘ืขืจืš 40 ืฉื ื” ืœื‘ื ื•ืช ืื•ืชื•.
01:52
You know -- all the stuff.
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ืืชื ื™ื•ื“ืขื™ื -- ื›ืœ ื”ื“ื‘ืจื™ื.
01:54
That's my daughter, Jean.
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ื–ืืช ื”ื‘ืช ืฉืœื™, ื’'ื™ืŸ.
01:56
She came. She's a nurse in San Francisco.
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ื”ื™ื ื‘ืื”. ื”ื™ื ืื—ื•ืช ื‘ืกืŸ-ืคืจื ืกื™ืกืงื•.
01:58
"Dig it up," I said. "Pieces.
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"ืชื—ืคืจื• ืืช ื–ื” ื”ื—ื•ืฆื”", ืืžืจืชื™. "ื—ืชื™ื›ื•ืช.
02:00
I want pieces. Bits and pieces."
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ืื ื™ ืจื•ืฆื” ื—ืชื™ื›ื•ืช. ืฉื‘ืจื™ื ื•ื—ืชื™ื›ื•ืช."
02:02
I came up with this idea: a life of bits and pieces,
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ืขืœื” ืœื™ ื”ืจืขื™ื•ืŸ ื”ื‘ื: ื—ื™ื™ื ืฉืœ ืฉื‘ืจื™ื ื•ื—ืชื™ื›ื•ืช,
02:05
which I'm just starting to work on -- my next project.
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ืจืขื™ื•ืŸ ืฉืื ื™ ื‘ื“ื™ื•ืง ืžืชื—ื™ืœ ืœืขื‘ื•ื“ ืขืœื™ื• -- ื”ืคืจื•ื™ืงื˜ ื”ื‘ื ืฉืœื™.
02:07
That's my sister. She took care of pictures,
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ื–ืืช ืื—ื•ืชื™. ื”ื™ื ื“ืื’ื” ืœืชืžื•ื ื•ืช,
02:10
because I was a big collector of snapshot photography
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ื‘ื’ืœืœ ืฉื”ื™ื™ืชื™ ืืกืคืŸ ื’ื“ื•ืœ ืฉืœ ืชืฆืœื•ืžื™ ื‘ื–ืง
02:13
that I believed said a lot.
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ืฉื–ื” ืœื“ืขืชื™ ืื•ืžืจ ื”ืจื‘ื”.
02:15
And those are some of the pictures that --
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ื•ืืœื• ื›ืžื” ืžื”ืชืžื•ื ื•ืช ืฉ --
02:17
something was good about the burnt pictures.
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ืžืฉื”ื• ื”ื™ื” ื˜ื•ื‘ ื‘ืชืžื•ื ื•ืช ืฉื ื—ืจื›ื•.
02:19
I didn't know. I looked at that --
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ืœื ื™ื“ืขืชื™. ื”ืกืชื›ืœืชื™ ื‘ื–ื” --
02:21
I said, "Wow, is that better than the --"
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ืืžืจืชื™, "ื•ื•ืื•, ื”ืื ื–ื” ื™ื•ืชืจ ื˜ื•ื‘ ืžืืฉืจ --"
02:23
That's my proposal on Jimmy Doolittle. I made that movie for television.
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ื–ืืช ื”ื”ืฆืขื” ืฉืœื™ ืœ-"ื’'ื™ืžื™ ื“ื•ืœื™ื˜ืœ". ืขืฉื™ืชื™ ืืช ื”ืกืจื˜ ื”ื–ื” ืœื˜ืœื•ื™ื–ื™ื”.
02:25
It's the only copy I had. Pieces of it.
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ื–ื” ื”ืขื•ืชืง ื”ื™ื—ื™ื“ ืฉื”ื™ื” ืœื™ -- ื—ืชื™ื›ื•ืช ืžืžื ื•.
02:29
Idea about women.
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ืจืขื™ื•ืŸ ืœื’ื‘ื™ ื ืฉื™ื.
02:31
So I started to say, "Hey, man, you are too much!
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ืื– ื”ืชื—ืœืชื™ ืœื•ืžืจ, "ืฉืžืข ืื—ื™, ืืชื” ื™ื•ืชืจ ืžื™ื“ื™!
02:34
You could cry about this." I really didn't.
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ืืชื” ื™ื›ื•ืœ ืœื‘ื›ื•ืช ื‘ื’ืœืœ ื–ื”." ืœื ืžืžืฉ ืขืฉื™ืชื™ ืืช ื–ื”.
02:37
I just instead said,
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ื‘ืžืงื•ื ืคืฉื•ื˜ ืืžืจืชื™,
02:39
"I'm going to make something out of it, and maybe next year ... "
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"ืื ื™ ื”ื•ืœืš ืœืขืฉื•ืช ืžื–ื” ืžืฉื”ื•, ื•ืื•ืœื™ ื‘ืฉื ื” ื”ื‘ืื”..."
02:41
And I appreciate this moment
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ื•ืื ื™ ืžืขืจื™ืš ืืช ื”ืจื’ืข ื”ื–ื”
02:43
to come up on this stage with so many people
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ืœืขืœื•ืช ืขืœ ื”ื‘ืžื” ื”ื–ืืช ืžื•ืœ ื›ืœ ื›ืš ื”ืจื‘ื” ืื ืฉื™ื
02:45
who've already given me so much solace,
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ืฉื›ื‘ืจ ื ืชื ื• ืœื™ ื›ืœ ื›ืš ื”ืจื‘ื” ื ื—ืžื”,
02:48
and just say to TEDsters:
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ื•ืจืง ืœื•ืžืจ ืœืื ืฉื™ TED:
02:50
I'm proud of me. That I take something bad,
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ืื ื™ ื’ืื” ื‘ืขืฆืžื™. ืฉืื ื™ ืœื•ืงื— ื“ื‘ืจ ืจืข,
02:53
I turn it, and I'm going to make something good out of this,
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ืื ื™ ื”ื•ืคืš ืื•ืชื•, ื•ืื ื™ ื”ื•ืœืš ืœืขืฉื•ืช ืžื–ื” ืžืฉื”ื• ื˜ื•ื‘,
02:55
all these pieces.
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ื›ืœ ื”ื—ืชื™ื›ื•ืช ื”ืืœื•.
02:57
That's Arthur Leipzig's original photograph I loved.
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ื–ืืช ืชืžื•ื ื” ืžืงื•ืจื™ืช ืฉืœ ืืจืชื•ืจ ืœื™ืคืฆื™ื’ ืฉืื ื™ ืื•ื”ื‘.
03:00
I was a big record collector --
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ื”ื™ื™ืชื™ ืืกืคืŸ ืชืงืœื™ื˜ื™ื ื’ื“ื•ืœ --
03:02
the records didn't make it. Boy, I tell you,
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ื”ืชืงืœื™ื˜ื™ื ืœื ืฉืจื“ื•. ื‘ื—ื™ื™, ืื ื™ ืื•ืžืจ ืœื›ื,
03:04
film burns. Film burns.
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ืกืจื˜ื™ื ื ืฉืจืคื™ื, ืกืจื˜ื™ื ื ืฉืจืคื™ื.
03:07
I mean, this was 16-millimeter safety film.
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ืื ื™ ืžืชื›ื•ื•ืŸ, ื–ื” ื”ื™ื” ืกืจื˜ ืฉืœ 16 ืžื™ืœื™ืžื˜ืจ -ื—ืกื™ืŸ ืืฉ.
03:09
The negatives are gone.
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ื”ืชืฉืœื™ืœื™ื ืื™ื ื.
03:12
That's my father's letter to me, telling me to
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ื–ื” ื”ื™ื” ืžื›ืชื‘ื• ืฉืœ ืื‘ื™, ื‘ื• ื”ื•ื ืื•ืžืจ ืœื™
03:14
marry the woman I first married when I was 20.
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ืœื”ืชื—ืชืŸ ืขื ื”ืื™ืฉื” ืฉืขื™ืžื” ื”ืชื—ืชื ืชื™ ื›ืฉื”ื™ื™ืชื™ ื‘ืŸ 20.
03:18
That's my daughter and me.
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ื–ืืช ื‘ืชื™ ื•ืื ื™.
03:22
She's still there. She's there this morning, actually.
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ื”ื™ื ืขื“ื™ื™ืŸ ืฉื. ืœืžืขืŸ ื”ืืžืช, ื”ื™ื ืฉื ื”ื‘ื•ืงืจ.
03:24
That's my house.
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ื–ื” ื”ื‘ื™ืช ืฉืœื™.
03:26
My family's living in the Hilton Hotel in Scotts Valley.
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ื”ืžืฉืคื—ื” ืฉืœื™ ื—ื™ื” ื‘ืžืœื•ืŸ ื”ื™ืœื˜ื•ืŸ ื‘ืกืงื•ื˜ืก ื•ืืœื™.
03:29
That's my wife, Heidi,
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ื–ืืช ืืฉืชื™, ื”ื™ื™ื“ื™,
03:31
who didn't take it as well as I did.
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ืฉืœื ืœืงื—ื” ืืช ื–ื” ื˜ื•ื‘ ื›ืžื•ื ื™.
03:34
My children, Davey and Henry.
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ื”ื™ืœื“ื™ื ืฉืœื™, ื“ื™ื™ื•ื™ ื•ื”ื ืจื™.
03:37
My son, Davey, in the hotel two nights ago.
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ื‘ื ื™, ื“ื™ื™ื•ื™, ืœืคื ื™ 2 ืœื™ืœื•ืช ื‘ืžืœื•ืŸ .
03:41
So, my message to you folks,
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ืื– ืžื” ืฉืื ื™ ืจื•ืฆื” ืœื•ืžืจ ืœื›ื ื—ื‘ืจ'ื”,
03:43
from my three minutes, is that I appreciate the chance
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ืž-3 ื”ื“ืงื•ืช ืฉืœื™, ืฉืื ื™ ืžืขืจื™ืš ืืช ื”ื”ื–ื“ืžื ื•ืช
03:46
to share this with you. I will be back. I love being at TED.
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ืœื—ืœื•ืง ืืช ื–ื” ืื™ืชื›ื. ืื ื™ ืขื•ื“ ืื—ื–ื•ืจ. ืื ื™ ืื•ื”ื‘ ืœื”ื™ื•ืช ื‘- TED.
03:49
I came to live it, and I am living it.
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ื‘ืืชื™ ืœื—ื™ื•ืช ืืช ื–ื”, ื•ืื ื™ ื—ื™ ืืช ื–ื”.
03:52
That's my view from my window outside of Santa Cruz, in Bonny Doon,
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ื–ื” ื”ื ื•ืฃ ืžื—ื•ืฅ ืœื—ืœื•ื ื™ ื‘ืกื ื˜ื” ืงืจื•ื–, ื‘ื‘ื•ื ื™ ื“ื•ืŸ,
03:55
just 35 miles from here.
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ืจืง 56 ืงื™ืœื•ืžื˜ืจ ืžืฉื.
03:58
Thank you everybody.
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ืชื•ื“ื” ืœื›ื•ืœื.
04:00
(Applause)
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(ืžื—ื™ืื•ืช ื›ืคื™ื™ื)
ืขืœ ืืชืจ ื–ื”

ืืชืจ ื–ื” ื™ืฆื™ื’ ื‘ืคื ื™ื›ื ืกืจื˜ื•ื ื™ YouTube ื”ืžื•ืขื™ืœื™ื ืœืœื™ืžื•ื“ ืื ื’ืœื™ืช. ืชื•ื›ืœื• ืœืจืื•ืช ืฉื™ืขื•ืจื™ ืื ื’ืœื™ืช ื”ืžื•ืขื‘ืจื™ื ืขืœ ื™ื“ื™ ืžื•ืจื™ื ืžื”ืฉื•ืจื” ื”ืจืืฉื•ื ื” ืžืจื—ื‘ื™ ื”ืขื•ืœื. ืœื—ืฅ ืคืขืžื™ื™ื ืขืœ ื”ื›ืชื•ื‘ื™ื•ืช ื‘ืื ื’ืœื™ืช ื”ืžื•ืฆื’ื•ืช ื‘ื›ืœ ื“ืฃ ื•ื™ื“ืื• ื›ื“ื™ ืœื”ืคืขื™ืœ ืืช ื”ืกืจื˜ื•ืŸ ืžืฉื. ื”ื›ืชื•ื‘ื™ื•ืช ื’ื•ืœืœื•ืช ื‘ืกื ื›ืจื•ืŸ ืขื ื”ืคืขืœืช ื”ื•ื•ื™ื“ืื•. ืื ื™ืฉ ืœืš ื”ืขืจื•ืช ืื• ื‘ืงืฉื•ืช, ืื ื ืฆื•ืจ ืื™ืชื ื• ืงืฉืจ ื‘ืืžืฆืขื•ืช ื˜ื•ืคืก ื™ืฆื™ืจืช ืงืฉืจ ื–ื”.

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