Julie Taymor: Spider-Man, The Lion King and life on the creative edge

165,044 views ใƒป 2013-07-31

TED


์•„๋ž˜ ์˜๋ฌธ์ž๋ง‰์„ ๋”๋ธ”ํด๋ฆญํ•˜์‹œ๋ฉด ์˜์ƒ์ด ์žฌ์ƒ๋ฉ๋‹ˆ๋‹ค.

๋ฒˆ์—ญ: Ahreum Woo ๊ฒ€ํ† : K Bang
00:13
(Music)
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(์Œ์•…)
00:19
["Oedipus Rex"]
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"์˜ค์ด๋””ํ‘ธ์Šค ์™•"
00:27
["The Lion King"]
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"๋ผ์ด์˜จ ํ‚น"
00:34
["Titus"]
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"ํƒ€์ดํˆฌ์Šค"
00:49
["Frida"]
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"ํ”„๋ฆฌ๋‹ค"
"๋งˆ์ˆ  ํ”ผ๋ฆฌ"
01:05
["The Magic Flute"]
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01:12
["Across The Universe"]
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"์–ดํฌ๋กœ์Šค ๋” ์œ ๋‹ˆ๋ฒ„์Šค"
(๊ด€๊ฐ ๋ฐ•์ˆ˜)
01:27
(Applause)
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01:32
Julie Taymor: Thank you. Thank you very much.
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์ค„๋ฆฌ ํ…Œ์ด๋จธ: ๊ณ ๋ง™์Šต๋‹ˆ๋‹ค.
01:34
That's a few samples of the theater, opera
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์ง€๊ธˆ ๋ณด์‹  ์˜์ƒ์€ ์ง€๋‚œ 20๋…„๊ฐ„
01:37
and films that I have done over the last 20 years.
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์ œ๊ฐ€ ์ œ์ž‘ํ•œ ์˜คํŽ˜๋ผ์™€ ์˜ํ™”์˜ ์ผ๋ถ€์ž…๋‹ˆ๋‹ค.
01:40
But what I'd like to begin with right now
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ํ•˜์ง€๋งŒ ์šฐ์„ 
01:42
is to take you back to a moment
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์ธ๋„๋„ค์‹œ์•„์—์„œ์˜ ์ œ ๊ฒฝํ—˜์œผ๋กœ
01:44
that I went through in Indonesia,
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์ด์•ผ๊ธฐ๋ฅผ ์‹œ์ž‘ํ•˜๊ณ ์ž ํ•ฉ๋‹ˆ๋‹ค.
01:46
which is a seminal moment in my life
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์ œ๊ฒ ์•„์ฃผ ์ค‘์š”ํ•œ ์‹œ๊ฐ„์ด์—ˆ๊ฑฐ๋“ ์š”.
01:49
and, like all myths,
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๋ชจ๋“  ์‹ ํ™”๊ฐ€ ๊ทธ๋ ‡๋“ฏ
01:51
these stories need to be retold
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์šฐ๋ฆฌ๊ฐ€ ์ด๋ฅผ ์žŠ์ง€ ์•Š๊ธฐ ์œ„ํ•ด์„œ๋Š”
01:53
and told, lest we forget them.
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๋ฐ˜๋ณตํ•ด์„œ ์ „๋‹ฌํ•ด์•ผ ํ•˜๋‹ˆ๊นŒ์š”.
01:55
And when I'm in the turbulent times, as we know,
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๋งŽ์€ ๋ถ„๋“ค์ด ์•„์‹œ๊ฒ ์ง€๋งŒ ์š”์ฆ˜ ์ œ ์ƒํ™ฉ์ด ์กฐ๊ธˆ ์–ด๋ ต์Šต๋‹ˆ๋‹ค.
01:58
that I am right now, through the crucible
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ํŽ„ํŽ„ ๋“๋Š” ์šฉ๊ด‘๋กœ์—์„œ
02:01
and the fire of transformation,
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๋ณ€ํ™”์˜ ๊ณผ์ •์„ ๊ฑฐ์น˜๊ณ  ์žˆ๊ฑฐ๋“ ์š”.
02:03
which is what all of you do, actually.
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์‚ฌ์‹ค ๋ˆ„๊ตฌ๋‚˜ ๊ทธ๋ ‡์ž–์•„์š”.
02:06
Anybody who creates knows there's that point where
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๋ญ”๊ฐ€ ๋งŒ๋“œ๋Š” ์ง์—…์„ ๊ฐ€์ง„ ์‚ฌ๋žŒ์€ ์–ด๋Š ์ˆœ๊ฐ„ ์•Œ ์ˆ˜ ์žˆ์–ด์š”.
02:09
it hasn't quite become the phoenix or the burnt char.
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๋‚ด๊ฐ€ ํ•œ ์ผ์ด ์ฃฝ๋„ ๋ฐฅ๋„ ์•„๋‹ˆ๋ผ๋Š” ๊ฑธ์š”.
02:14
(Laughter)
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(์›ƒ์Œ)
02:16
And I am right there on the edge,
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์ €๋„ ์ง€๊ธˆ ๊ทธ๋Ÿฐ ์ƒํ™ฉ์ž…๋‹ˆ๋‹ค.
์ด๊ฑด ๋‹ค๋ฅธ ์–˜๊ธฐ์ด๋‹ˆ ๋‚˜์ค‘์— ๋‹ค์‹œ ํ•˜๊ฒ ์Šต๋‹ˆ๋‹ค.
02:19
which I'll tell you about, another story.
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02:21
I want to go back to Indonesia
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์ธ๋„๋„ค์‹œ์•„ ์ด์•ผ๊ธฐ๋กœ ๋Œ์•„๊ฐ€๋ฉด
02:22
where I was about 21, 22 years, a long time ago,
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์•„์ฃผ ์˜ค๋ž˜ ์ „ ์ œ๊ฐ€ 21, 22 ์‚ด ๋ฌด๋ ต์—
์žฅํ•™๊ธˆ์œผ๋กœ ์œ ํ•™ ์ค‘์ด์—ˆ์–ด์š”.
02:26
on a fellowship.
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02:27
And I found myself, after two years there
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๊ทธ๊ณณ์—์„œ ๊ณต์—ฐ๋„ ํ•˜๊ณ  ๊ณต๋ถ€๋„ ํ•˜๋ฉฐ
02:30
and performing and learning, on the island of Bali,
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2๋…„์ด ์ง€๋‚œ ์–ด๋Š ๋‚ 
02:33
on the edge of a crater, Gunung Batur.
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์ €๋Š” ๋ฐœ๋ฆฌ ์„ฌ์— ์œ„์น˜ํ•œ
๋ฐ”ํˆฌ๋ฅด ์‚ฐ์˜ ๋ถ„ํ™”๊ตฌ ์œ„์— ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค.
02:37
And I was in a village where there was
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์ œ๊ฐ€ ๊ฐ”๋˜ ๋งˆ์„์—๋Š”
02:40
an initiation ceremony for the young men,
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์ Š์€ ๋‚จ์„ฑ๋“ค์˜ ์„ฑ์ธ์‹ ํ’์Šต์ด ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค.
์ผ์ข…์˜ ํ†ต๊ณผ ์˜๋ก€์˜ˆ์š”.
02:43
a rite of passage.
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02:45
Little did I know that it was mine as well.
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ํ•˜์ง€๋งŒ ๊ทธ๊ฒŒ ์ œ ์„ฑ์ธ์‹์ด ๋  ์ค„์€ ์ •๋ง ๋ชฐ๋ž์Šต๋‹ˆ๋‹ค.
02:47
And as I sat in this temple square
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์ „ ํ•œ ์‚ฌ์›์˜ ๊ด‘์žฅ์— ์žˆ๋Š”
02:50
under this gigantic beringin banyan tree,
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๊ฑฐ๋Œ€ํ•œ ๋ฒค์ž๋ฏผ ๋‚˜๋ฌด ๋ฐ‘์— ์•‰์•„์žˆ์—ˆ์–ด์š”.
์ „๊นƒ๋ถˆ๋„ ์—†๋Š” ์บ„์บ„ํ•œ ์–ด๋‘  ์†์—์„œ ๋ณด๋ฆ„๋‹ฌ๋งŒ ๋น›๋‚˜๊ณ  ์žˆ์—ˆ์ฃ .
02:53
in the dark, there was no electricity, just the full moon,
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๊ทธ๋Ÿฌ๋‹ค ํ…… ๋นˆ ๊ด‘์žฅ์˜ ์ € ์•„๋ž˜์„œ
02:58
down in this empty square,
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์•„์ฃผ ์•„๋ฆ„๋‹ค์šด ์†Œ๋ฆฌ๊ฐ€ ๋“ค๋ ธ์Šต๋‹ˆ๋‹ค.
03:00
and I heard the most beautiful sounds,
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03:02
like a Charles Ives concert
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๋งˆ์น˜ ์ฐฐ์Šค ์•„์ด๋ธŒ์Šค ๊ณต์—ฐ ๊ฐ™์•˜์–ด์š”.
03:04
as I listened to the gamelan music
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์ธ๋„๋„ค์‹œ์•„ ๋ฏผ์† ์Œ์•…์ธ ๊ฐ€๋ฏˆ๋ž€์ด์—ˆ์Šต๋‹ˆ๋‹ค.
03:06
from all the different villagers that came
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5๋…„์— ํ•œ ๋ฒˆ ์—ด๋ฆฌ๋Š” ์„ฑ์ธ์‹์„ ์œ„ํ•ด
03:08
for this once-every-five-years ceremony.
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์—ฌ๋Ÿฌ ๋งˆ์„์—์„œ ์‚ฌ๋žŒ๋“ค์ด ๋ชจ์ธ ๊ฒƒ์ด์—ˆ์ฃ .
03:11
And I thought I was alone in the dark under this tree.
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์ „ ๊ทธ ์–ด๋‘  ์†์— ํ˜ผ์ž ์žˆ๋Š” ์ค„ ์•Œ์•˜์–ด์š”.
๊ทธ๋Ÿฐ๋ฐ ๊ฐ‘์ž๊ธฐ ๊ทธ ์–ด๋‘ ์„ ๋šซ๊ณ 
03:15
And all of a sudden, out of the dark,
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03:17
from the other end of the square,
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๊ด‘์žฅ์˜ ๋ฐ˜๋Œ€ํŽธ์—์„œ
03:19
I saw the glint of mirrors lit by the moon.
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๋‹ฌ๋น›์„ ๋ฐ˜์‚ฌํ•˜๋Š” ๊ฑฐ์šธ์ด ๋ณด์˜€์Šต๋‹ˆ๋‹ค.
03:23
And these 20 old men who I'd seen before
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๋งˆ์„์˜ ์›๋กœ 20๋ช…์ด์—ˆ์–ด์š”. ์ „์—๋„ ๋ณธ ์ ์€ ์žˆ์—ˆ์ฃ .
03:27
all of a sudden stood up in these full warrior costumes
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์ „ํ†ต ๋ฌด์‚ฌ์˜ ์ฐจ๋ฆผ์„ ๊ฐ–์ถ˜ ๊ทธ๋ถ„๋“ค์ด ๊ฐ‘์ž๊ธฐ ๋‚˜ํƒ€๋‚œ ๊ฒƒ์ด์—ˆ์Šต๋‹ˆ๋‹ค.
03:32
with the headdress and the spears,
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๋จธ๋ฆฌ ์žฅ์‹ ๊ตฌ์™€ ์ฐฝ๊นŒ์ง€ ๋“ค๊ณ ์š”.
๊ด‘์žฅ์—” ์•„๋ฌด๋„ ์—†์—ˆ์–ด์š”. ์ œ ๋ชจ์Šต๋„ ๊ทธ๋ฆผ์ž์— ๊ฐ€๋ ธ๊ณ ์š”.
03:35
and no one was in the square, and I was hidden in the shadows.
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์•„๋ฌด๋„ ์—†๋Š” ๊ด‘์žฅ์—์„œ ๊ทธ๋“ค์€
03:39
No one was there, and they came out,
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03:41
and they did this incredible dance.
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์ถค์„ ์ถ”๊ธฐ ์‹œ์ž‘ํ–ˆ์Šต๋‹ˆ๋‹ค.
"ํ›„ํ›„ํ›„ํ›„ํ›„ํ•˜ํ•˜ํ•˜ํ•˜ํ•˜"
03:45
"Huhuhuhuhuhuhuhahahahaha."
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03:49
And they moved their bodies and they came forward,
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๋ชธ์„ ์›€์ง์ด๋ฉฐ ์•ž์œผ๋กœ ๋‚˜์•„๊ฐ€๋Š” ๋ชธ์ง“์—
03:52
and the lights bounced off these costumes.
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์ž…๊ณ  ์žˆ๋˜ ์˜ท์ด ๋น›์„ ๋ฐ˜์‚ฌํ•˜๋ฉฐ ๋ฐ˜์ง์˜€์Šต๋‹ˆ๋‹ค.
03:55
And I've been in theater since I was 11 years old,
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์ „ 11์‚ด ๋•Œ๋ถ€ํ„ฐ ์—ฐ๊ธฐ์™€ ์ œ์ž‘์„ ๋ฐฐ์šฐ๋ฉฐ ์˜ํ™” ์—…๊ณ„์— ์žˆ์—ˆ๊ฑฐ๋“ ์š”.
03:58
and performing, creating, and I went,
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๊ทธ๋ž˜์„œ ๊ถ๊ธˆํ•ด์กŒ์ฃ .
04:01
"Who are they performing for
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"๋ณต์žฅ๊ณผ ๋จธ๋ฆฌ ์žฅ์‹๊นŒ์ง€
04:03
with these elaborate costumes,
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์ด๋ ‡๊ฒŒ ์ •์„ฑ์Šค๋Ÿฝ๊ฒŒ ๊ฐ–์ถ”๊ณ 
04:06
these extraordinary headdresses?"
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๋„๋Œ€์ฒด ๋ฌด์Šจ ๊ณต์—ฐ์„ ํ•˜๋Š” ๊ฑธ๊นŒ?"
04:08
And I realized that they were performing for God,
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๋ฐ”๋กœ ์‹ ์„ ์œ„ํ•œ ๊ฒƒ์ด์—ˆ์Šต๋‹ˆ๋‹ค.
04:13
whatever that means.
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์˜๋ฏธ๋Š” ์ž˜ ๋ชจ๋ฅด์ง€๋งŒ์š”.
04:15
But somehow, it didn't matter about the publicity.
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๊ทธ๋Ÿฌ๋‚˜ ๋ณด์—ฌ์ฃผ๊ธฐ ์œ„ํ•จ์€ ์•„๋‹ˆ์—ˆ์Šต๋‹ˆ๋‹ค.
๋ˆ์ด ๊ฐœ์ž…๋œ ๊ฒƒ๋„ ์•„๋‹ˆ๊ณ ์š”.
04:19
There was no money involved.
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04:21
It wasn't going to be written down. It was no news.
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๋‰ด์Šค๊ฑฐ๋ฆฌ๋„ ์•„๋‹ˆ๊ณ  ๊ธฐ๋กํ•˜๋Š” ์‚ฌ๋žŒ๋„ ์—†์—ˆ์Šต๋‹ˆ๋‹ค.
04:24
And there were these incredible artists
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์ด ์˜ˆ์ˆ ๊ฐ€๋“ค์˜ ๊ณต์—ฐ์€
04:26
that felt for me like an eternity as they performed.
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๋งˆ์น˜ ์˜์›์ฒ˜๋Ÿผ ๋Š๊ปด์กŒ์–ด์š”.
04:30
The next moment,
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๊ทธ๋ฆฌ๊ณ  ์ˆœ์‹๊ฐ„์—
04:32
as soon as they finished and disappeared into the shadows,
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๊ณต์—ฐ์„ ๋งˆ์นœ ์ด๋“ค์ด ์–ด๋‘  ์†์œผ๋กœ ์‚ฌ๋ผ์กŒ์Šต๋‹ˆ๋‹ค.
04:36
a young man with a propane lantern came on,
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๊ทธ๋ฆฌ๊ณ  ๊ฐ€์Šค ๋žœํ„ด์„ ๋“  ์ Š์€์ด๊ฐ€ ๋‚˜ํƒ€๋‚˜๋”๋‹ˆ
04:39
hung it up on a tree, set up a curtain.
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๊ฐ€์Šค ๋“ฑ๋ถˆ์„ ๋‚˜๋ฌด์— ๋งค๋‹ฌ๊ณ  ์ปคํŠผ์„ ์ณค์Šต๋‹ˆ๋‹ค.
๊ด‘์žฅ์—๋Š” ์ˆ˜๋ฐฑ๋ช…์˜ ์ธํŒŒ๊ฐ€ ๋ชจ์—ฌ๋“ค์—ˆ๊ณ ์š”.
04:41
The village square was filled with hundreds of people.
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04:44
And they put on an opera all night long.
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๊ทธ๋ฆฌ๊ณ  ๋ฐค์ƒˆ๋„๋ก ์˜คํŽ˜๋ผ๋ฅผ ๊ฐ์ƒํ–ˆ์Šต๋‹ˆ๋‹ค.
04:47
Human beings needed the light.
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์ธ๊ฐ„์—๊ฒ ๋น›์ด ํ•„์š”ํ•˜์ฃ .
04:49
They needed the light to see.
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์•ž์„ ๋ณด๊ธฐ ์œ„ํ•ด์„œ์š”.
04:52
So what I gained and gathered from this incredible,
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๊ทธ๋‚  ๋ฐค ๊ทธ ๋†€๋ผ์šด ๊ด‘๊ฒฝ์„ ๋ณด๋ฉฐ
04:55
seminal moment in my life as a young artist
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์ดˆ๋ณด ์˜ˆ์ˆ ๊ฐ€์ธ ์ œ๊ฐ€ ์–ป์€ ๋ณด๋ฌผ์€
04:58
was that you must be true
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์˜ˆ์ˆ ๊ฐ€๋Š” ์ž์‹ ์˜ ๋ฏฟ์Œ์—
05:01
to what you believe as an artist all the way through,
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์ถฉ์‹คํ•ด์•ผ ํ•œ๋‹ค๋Š” ๊ฒƒ์ด์—ˆ์Šต๋‹ˆ๋‹ค.
05:05
but you also have to be aware
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๋ฟ๋งŒ ์•„๋‹ˆ๋ผ ์šฐ๋ฆฌ๊ฐ€ ์‚ฌ๋Š” ์ด ์ˆœ๊ฐ„
05:09
that the audience is out there in our lives at this time,
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๊ด€๊ฐ์€ ์–ด๋””์—๋‚˜ ์žˆ๋‹ค๋Š” ๊ฒƒ๋„ ์•Œ์•„์•ผ ํ•˜๊ณ ์š”.
05:12
and they also need the light.
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๊ทธ๋ฆฌ๊ณ  ๊ทธ๋“ค๋„ ๋น›์ด ํ•„์š”ํ•˜๋‹ค๋Š” ๊ฒƒ์ด์ฃ .
05:14
And it's this incredible balance
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์ด ๊ณผ์ •์—์„œ
05:16
that I think that we walk
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๊ท ํ˜•์„ ์žƒ์ง€ ๋ง์•„์•ผ ํ•ฉ๋‹ˆ๋‹ค.
05:18
when we are creating something that is breaking ground,
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์„ธ์ƒ์„ ๋’ค๋ฐ”๊ฟ€ ๋งŒํ•œ ๊ฒƒ, ์ „์—๋Š” ๋ณด์ง€ ๋ชปํ–ˆ๋˜ ๊ฒƒ๋“ค์„
05:21
that's trying to do something you've never seen before,
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05:24
that imaginary world
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์ฐฝ์กฐํ•˜๊ณ ์ž ํ•œ๋‹ค๋ฉด ๋ง์ž…๋‹ˆ๋‹ค.
05:25
where you actually don't know where you're going to end up,
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๋˜ํ•œ ๋‚ด๊ฐ€ ๊ฐ€๋Š” ๊ธธ์„ ์•Œ ์ˆ˜ ์—†๋Š”
์ƒ์ƒ์˜ ์„ธ๊ณ„๋ฅผ ์ฐฝ์กฐํ•˜๋Š” ๊ฒƒ๋„
05:29
that's the fine line on the edge of a crater
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์ œ๊ฐ€ ์ง€๊ธˆ๊นŒ์ง€ ํ‰์ƒ์„ ๋ฐ”์ณ
05:32
that I have walked my whole life.
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๋ถ„ํ™”๊ตฌ ๋์˜ ๊ฐ€๋Š๋‹ค๋ž€ ์„  ์œ„์—์„œ ๊ท ํ˜•์„ ์žก๋Š” ๊ฒƒ๊ณผ ๋น„์Šทํ–ˆ์Šต๋‹ˆ๋‹ค.
05:34
What I would like to do now is to tell you
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๊ทธ๋Ÿผ ์ด์ œ๋ถ€ํ„ฐ
์ œ๊ฐ€ ์ผํ•˜๋Š” ๋ฐฉ์‹์— ๋Œ€ํ•ด
05:37
a little bit
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05:39
about how I work. Let's take "The Lion King."
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๋ง์”€๋“œ๋ฆฌ๊ฒ ์Šต๋‹ˆ๋‹ค. "๋ผ์ด์˜จํ‚น"์„ ์˜ˆ๋กœ ๋“ค์ฃ .
05:41
You saw many examples of my work up there,
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์•ž์„œ ์—ฌ๋Ÿฌ ์˜ˆ์‹œ๋ฅผ ๋ณด์—ฌ๋“œ๋ ธ์ง€๋งŒ
05:44
but it's one that people know.
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"๋ผ์ด์˜จํ‚น" ์ด ๊ฐ€์žฅ ์ž˜ ์•Œ๋ ค์กŒ๊ฑฐ๋“ ์š”.
์šฐ์„  ํ‘œ์˜๋ฌธ์ž, ์ฆ‰ ๊ธฐํ˜ธ๊ฐ€ ๋ฌด์—‡์ธ์ง€ ์งš๊ณ  ๋„˜์–ด๊ฐ€์ฃ .
05:46
I start with the notion of the ideograph.
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05:48
An ideograph is like a brush painting, a Japanese brush painting.
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ํ‘œ์˜๋ฌธ์ž๋ž€ ๋™์–‘ํ™”์ฒ˜๋Ÿผ ๊ฐ„๋‹จํ•˜๊ฒŒ ๊ธฐํ˜ธํ™”๋œ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
05:52
Three strokes, you get the whole bamboo forest.
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๋ถ“์„ ์„œ๋„ˆ๋ฒˆ ์Šฅ์Šฅ ์›€์ง์—ฌ์„œ ๋Œ€๋‚˜๋ฌด์ˆฒ์„ ๋งŒ๋“ค์ž–์•„์š”.
05:55
I go to the concept of "The Lion King"
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"๋ผ์ด์˜จํ‚น" ์„ ๊ตฌ์ƒํ•  ๋•Œ
05:58
and I say, "What is the essence of it?
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์ด ์ž‘ํ’ˆ์˜ ํ•ต์‹ฌ์ด ๋ฌด์—‡์ธ์ง€
06:00
What is the abstraction?
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์–ด๋–ค ๊ฐœ๋…์œผ๋กœ ํ‘œํ˜„ํ• ์ง€ ๊ณ ๋ฏผํ–ˆ์Šต๋‹ˆ๋‹ค.
06:01
If I were to reduce this entire story
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"๋งŒ์•ฝ ์ด ์ด์•ผ๊ธฐ ์ „์ฒด๋ฅผ ํ•˜๋‚˜์˜ ์ด๋ฏธ์ง€๋กœ ํ‘œํ˜„ํ•œ๋‹ค๋ฉด
06:05
into one image, what would it be?"
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์–ด๋–ค ๊ฒƒ์ด ์ข‹์„๊นŒ?"
06:07
The circle. The circle. It's so obvious.
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์›์ด์—ˆ์Šต๋‹ˆ๋‹ค. ๋‹น์—ฐํžˆ ์›์ด์–ด์•ผ์ฃ .
06:10
The circle of life. The circle of Mufasa's mask.
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์‚ถ์ด๋ž€ ์›์ด์ž–์•„์š”. ๋ฌดํŒŒ์‚ฌ ๊ฐ€๋ฉด๋„ ์›ํ˜•์ด๊ณ ์š”.
06:14
The circle that, when we come to Act II and there's a drought,
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2๋ง‰์—์„œ ๊ฐ€๋ญ„ ์žฅ๋ฉด์ด ๋‚˜์˜ค๋Š”๋ฐ
06:19
how do you express drought?
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๊ฐ€๋ญ„์„ ์–ด๋–ป๊ฒŒ ํ‘œํ˜„ํ–ˆ์„๊นŒ์š”?
06:20
It's a circle of silk on the floor
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๋ฐ”๋‹ฅ์— ์›ํ˜•์˜ ๋น„๋‹จ์„ ๊น”๊ณ 
๊ทธ ๋น„๋‹จ์ด ๋ฐ”๋‹ฅ์— ๋‚œ ๊ตฌ๋ฉ์œผ๋กœ ์‚ฌ๋ผ์ง€๋„๋ก ํ–ˆ์Šต๋‹ˆ๋‹ค.
06:24
that disappears into the hole in the stage floor.
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์‚ถ์˜ ์ˆœํ™˜๋„ ๊ฐ€์ ค์˜ ๋ชจ์Šต์œผ๋กœ ๋“ฑ์žฅํ•˜๋Š”
06:28
The circle of life comes in the wheels
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06:30
of the gazelles that leap.
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์›ํ˜•์˜ ๋ฐ”ํ€ด์ž…๋‹ˆ๋‹ค.
06:33
And you see the mechanics.
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๊ด€๊ฐ๋„ ๊ทธ ๊ตฌ์กฐ๋ฅผ ํŒŒ์•…ํ•  ์ˆ˜ ์žˆ์–ด์š”.
06:34
And being a theater person, what I know and love about the theater
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์—ฐ๊ทน์ธ์œผ๋กœ์„œ ์ œ๊ฐ€ ์ƒ๊ฐํ•˜๋Š” ์—ฐ๊ทน์˜ ๋งค๋ ฅ์„ ๋ง์”€๋“œ๋ฆด๊ฒŒ์š”.
06:38
is that when the audience comes in
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๊ด€๊ฐ์ด ์ž๋ฆฌ์— ์•‰์•„์„œ
06:40
and they suspend their disbelief,
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์˜์‹ฌ์€ ์ž ์‹œ ์ ‘์–ด๋‘๊ณ 
06:41
when you see men walking or women walking
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๋ฐฐ์šฐ๊ฐ€ ๋“ฑ์žฅํ•  ๋•Œ
๋ฐฐ์šฐ ๋จธ๋ฆฌ์˜ ํ’€ ์žฅ์‹์„ ๋ณด๋ฉด
06:44
with a platter of grass on their heads,
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06:46
you know it's the savanna.
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์‚ฌ๋ฐ”๋‚˜๋ฅผ ์˜๋ฏธํ•œ๋‹ค๋Š” ๊ฒƒ์„ ์•Œ ์ˆ˜ ์žˆ์ฃ .
06:48
You don't question that.
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์˜์‹ฌ์˜ ์—ฌ์ง€๊ฐ€ ์—†์ง€์š”.
06:49
I love the apparent truth of theater.
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๊ทธ๋Ÿฐ ๋‹น์—ฐํ•จ์ด ๋งค๋ ฅ์ด์˜ˆ์š”.
ํ˜„์‹ค๊ณผ ์—ฐ๊ทน์˜ ์ฐจ์ด๋ฅผ ๊ธฐ๊บผ์ด ์ˆ˜์šฉํ•˜๋Š” ๊ด€๊ฐ์˜ ์˜์ง€์š”.
06:52
I love that people are willing to fill in the blanks.
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06:55
The audience is willing to say,
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์ด๋ ‡๊ฒŒ ์ƒ๊ฐํ•˜๋Š” ๊ฑฐ์ฃ .
06:57
"Oh, I know that's not a real sun.
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"๋ฌผ๋ก  ์ €๊ฑด ์ง„์งœ ํ•ด๊ฐ€ ์•„๋‹ˆ์•ผ.
07:00
You took pieces of sticks.
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๋ง‰๋Œ€๊ธฐ ๋ช‡ ๊ฐœ ๊ฐ€์ ธ๋‹ค๊ฐ€
๋ฐ”๋‹ฅ์— ๋น„๋‹จ ์กฐ๊ฐ์„ ๋ถ™์ด๊ณ 
07:03
You added silk to the bottom.
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๋ง‰๋Œ€๊ธฐ๋ฅผ ์ค„์— ๋งค๋‹ฌ์•„ ์ผ๋‹จ ๋ฐ”๋‹ฅ์— ๋‚ด๋ ค๋†“์€ ํ›„
07:05
You suspended these pieces. You let it fall flat on the floor.
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07:08
And as it rises with the strings, I see that it's a sun.
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์ค„์„ ๋Œ์–ด์˜ฌ๋ฆฌ๋ฉด ํ•ด๊ฐ€ ๋˜๋Š” ๊ฑฐ์ง€."
07:13
But the beauty of it is that it's just silk and sticks.
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ํ•˜์ง€๋งŒ ๊ทธ ๋น„๋‹จ ์กฐ๊ฐ๊ณผ ๋ง‰๋Œ€๊ธฐ๊ฐ€ ํ•ต์‹ฌ์ด์˜ˆ์š”.
07:17
And in a way, that is what makes it spiritual.
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์–ด๋–ค ๋ฉด์—์„œ ๊ทธ๋Ÿฐ ๊ฒƒ์ด ์˜์ , ์ข…๊ต์  ์ƒ์ง•์„ฑ์„ ๊ฐ–์ฃ .
07:22
That's what moves you.
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๊ทธ๋ž˜์„œ ๊ฐ๋™์ ์ด๊ณ ์š”.
07:23
It's not the actual literal sunrise that's coming.
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์‹ค์ œ๋กœ ์ผ์ถœ์— ๊ฐ๋™์„ ๋ฐ›๋Š”๊ฒŒ ์•„๋‹™๋‹ˆ๋‹ค.
07:27
It's the art of it.
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๊ทธ ์˜ˆ์ˆ ์„ฑ์ด์ฃ .
07:29
So in the theater, as much as the story is critical
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์—ฐ๊ทน์—์„  ๋ฌผ๋ก  ์ด์•ผ๊ธฐ์˜ ๋น„์ค‘์ด ํฝ๋‹ˆ๋‹ค.
07:34
and the book and the language,
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๋Œ€๋ณธ์ด๋‚˜ ํ‘œํ˜„ ์ˆ˜๋‹จ,
07:36
the telling of the story, how it's told,
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์ „๋‹ฌ ๋ฐฉ๋ฒ•๋„ ์ค‘์š”ํ•˜๊ณ ์š”.
์‚ฌ์šฉํ•˜๋Š” ๋ฐฉ๋ฒ•, ๊ทธ ๊ตฌ์กฐ๋„
07:41
the mechanics, the methods that you use,
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์ด์•ผ๊ธฐ๋งŒํผ ์ค‘์š”ํ•ฉ๋‹ˆ๋‹ค.
07:44
is equal to the story itself.
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07:47
And I'm one who loves high tech and low tech.
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์ „ ๋””์ง€ํ„ธ๊ณผ ์•„๋‚ ๋กœ๊ทธ๋ฅผ ๋ชจ๋‘ ์ข‹์•„ํ•ด์š”.
07:50
So I could go from --
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๊ทธ๋ž˜์„œ ์ €๋Š”...
07:52
For instance, I'll show you some "Spider-Man" later,
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์˜ˆ๋ฅผ ๋“ค๋ฉด ๋‚˜์ค‘์— ๋ณด๊ฒŒ ๋˜์‹ค "์ŠคํŒŒ์ด๋”๋งจ" ์ฒ˜๋Ÿผ
ํ˜„๋ž€ํ•œ ๊ธฐ๊ณ„๊ฐ€ ์‚ฌ๋žŒ๋“ค์„ ์›€์ง์ด๊ฑฐ๋“ ์š”.
07:55
these incredible machines that move people along.
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07:57
But the fact is, without the dancer
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ํ•˜์ง€๋งŒ ์‹ค์ œ๋กœ๋Š” ๊ธฐ๊ณ„์˜ ์™€์ด์–ด ์žฅ์น˜์— ๋งž์ถฐ
08:00
who knows how to use his body and swing on those wires,
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๋ชธ์„ ์›€์ง์ผ ์ˆ˜ ์žˆ๋Š” ๋ฌด์šฉ์ˆ˜๋“ค์ด ์—†๋‹ค๋ฉด
08:02
it's nothing.
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08:04
So now I'm going to show you
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๊ธฐ๊ณ„๋Š” ์ „ํ˜€ ์“ธ๋ชจ๊ฐ€ ์—†์Šต๋‹ˆ๋‹ค.
๊ทธ๋Ÿผ ์ง€๊ธˆ๋ถ€ํ„ฐ ์˜ฌํ•ด ์ž‘์—…ํ•œ ๋‹ค๋ฅธ ์ž‘ํ’ˆ์„
08:07
some clips from the other big project of my life this year,
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์ผ๋ถ€ ๊ฐ์ƒํ•˜์‹œ๊ฒ ์Šต๋‹ˆ๋‹ค.
08:11
"The Tempest."
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"ํ…œํ”ผ์ŠคํŠธ" ์ž…๋‹ˆ๋‹ค.
08:12
It's a movie. I did "The Tempest" on a stage three times
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์ด๊ฑด ์˜ํ™”์˜ˆ์š”, ์—ฐ๊ทน "ํ…œํ”ผ์ŠคํŠธ"๋Š” ์ง€๊ธˆ๊นŒ์ง€ ์„ธ ๋ฒˆ ๋ฌด๋Œ€์— ์˜ฌ๋ ธ์ฃ .
08:17
in the theater since 1984, '86,
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84๋…„์ธ๊ฐ€, 86๋…„ ๋ถ€ํ„ฐ์š”.
08:20
and I love the play.
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์ œ๊ฐ€ ์ •๋ง ์ข‹์•„ํ•˜๋Š” ์—ฐ๊ทน์ž…๋‹ˆ๋‹ค.
08:22
I did it always with a male Prospero.
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ํ”„๋กœ์ŠคํŽ˜๋กœ ์—ญ์€ ํ•ญ์ƒ ๋‚จ์ž๊ฐ€ ๋งก์•˜๋Š”๋ฐ
์–ด๋Š ๋‚  ๊ฐ‘์ž๊ธฐ ์ด๋Ÿฐ ์ƒ๊ฐ์ด ๋“ค์—ˆ์–ด์š”.
08:25
And all of a sudden, I thought,
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08:26
"Well, who am I gonna get to play Prospero?
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"์ด๋ฒˆ ํ”„๋กœ์ŠคํŽ˜๋กœ๋Š” ๋ˆ„๊ฐ€ ์ข‹์„๊นŒ?
08:28
Why not Helen Mirren? She's a great actor. Why not?"
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ํ—ฌ๋ Œ ๋ฏธ๋ Œ์€ ์–ด๋–จ๊นŒ? ๋›ฐ์–ด๋‚œ ๋ฐฐ์šด๋ฐ, ์•ˆ๋  ๊ฒƒ ์—†์ž–์•„?"
08:32
And this material really did work for a woman equally as well.
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์—ฌ์ž๋กœ ๋ฐ”๊ฟจ์–ด๋„ ๊ทน์˜ ๊ฐ๋™์€ ๊ทธ๋Œ€๋กœ์˜€์Šต๋‹ˆ๋‹ค.
08:35
So now, let's take a look at some of the images
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์ด์ œ ๊ทธ ์ผ๋ถ€๋ฅผ ๊ฐ์ƒํ•˜์‹œ์ฃ .
08:38
from "The Tempest."
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"ํ…œํ”ผ์ŠคํŠธ" ์ž…๋‹ˆ๋‹ค.
08:40
(Music)
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(์Œ์•…)
08:57
(Video) Prospera: Hast thou, spirit, performed to the point the tempest that I bade thee?
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(์˜์ƒ) ํ”„๋กœ์ŠคํŽ˜๋ผ: ์ „๋ น์ด์—ฌ, ์ง€์‹œ๋Œ€๋กœ ํญํ’์„ ๋ชฐ์•˜๋Š๋ƒ?
์•„๋ฆฌ์—˜: ์™•์˜ ๋ฐฐ์— ์˜ฌ๋ผ ๋‘๋ ค์›€์˜ ๋ถˆ์”จ๋ฅผ ์ง€ํˆ์Šต๋‹ˆ๋‹ค.
09:01
Ariel: I boarded the king's ship. In every cabin, I flamed amazement.
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09:09
Prospera: At first sight, they have changed eyes.
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ํ”„๋กœ์ŠคํŽ˜๋ผ: ์ฒซ๋ˆˆ์— ์„œ๋กœ์˜ ๋ˆˆ๋น›์ด ๋‹ฌ๋ผ์กŒ์–ด.
09:12
Miranda: Do you love me?
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๋ฏธ๋ž€๋‹ค: ์ ˆ ์‚ฌ๋ž‘ํ•˜๋‚˜์š”?
09:13
Ferdinand: Beyond all limit.
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ํŽ˜๋ฅด๋””๋‚œ๋“œ: ์–ด๋–ค ์‹œ๋ จ๋„ ์ด๊ฒจ๋‚ผ ๋งŒํผ.
09:15
HM: They are both in either's powers.
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ํ—ฌ๋ Œ ๋ฏธ๋ Œ: ์„œ๋กœ์˜ ํž˜์— ์‚ฌ๋กœ์žกํ˜”์ง€.
09:17
Trinculo: Misery acquaints a man with strange bedfellows.
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(์Œ์•…)
ํŠธ๋ฆฐํ˜๋กœ: ๋ถˆํ–‰์€ ๋ณ„๋‚œ ์นœ๊ตฌ๋ฅผ ์†Œ๊ฐœํ•˜๋Š” ๋ฒ•์ด์ง€.
09:22
(Music)
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09:26
Looking for business, governor?
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์ด๋…๋‹˜, ์‹ฌ์‹ฌํ•˜์„ธ์š”?
09:29
Caliban: Hast thou not dropped from heaven?
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์นผ๋ฆฌ๋ฐ˜: ํ•˜๋Š˜์—์„œ ์˜ค์‹  ๋ถ„ ์•„๋‹ˆ์—ˆ์†Œ?
09:31
Stephano: Out of the moon, I do assure thee.
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์Šคํ…ŒํŒŒ๋…ธ: ์ •ํ™•ํžˆ ๋งํ•˜๋ฉด ๋‹ฌ์—์„œ ์™”์ง€.
09:34
Prospera: Caliban!
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ํ”„๋กœ์ŠคํŽ˜๋ผ: ์นผ๋ฆฌ๋ฐ˜!
์นผ๋ฆฌ๋ฐ˜: ์ด ์„ฌ์€ ๋‚ด ์„ฌ์ด์˜ค.
09:36
Caliban: This island is mine.
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09:38
Prospera: For this, be sure, tonight thou shalt have cramps.
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ํ”„๋กœ์ŠคํŽ˜๋ผ: ๊ทธ ๋Œ“๊ฐ€๋กœ ์˜ค๋Š˜ ๋ฐค ๊ณ ํ†ต์„ ๊ฒช์„ ๊ฒƒ์ด๋‹ค.
09:41
Antonio: Here lies your brother no better than the earth he lies upon.
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์•ˆํ† ๋‹ˆ์˜ค: ๋„๋ถ€๋Ÿฌ์ง„ ๋„ค ํ˜•๊ณผ ๊ทธ ๋ฐ”๋‹ฅ์˜ ํ™์ด ๋‹ค๋ฅผ ๊ฒƒ์ด ์—†๊ตฐ.
09:45
Sebastian: Draw thy sword.
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์„ธ๋ฐ”์Šค์ฐฌ: ์นผ์„ ๋ฝ‘์•„๋ผ.
์ง์ด ๊ทธ๋Œ€๋ฅผ ์–ด์—ฌ์‚ ์—ฌ๊ธฐ๋…ธ๋ผ.
09:47
And I, the king, shall love thee.
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09:50
Prospera: I will plague them all, even to roaring.
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ํ”„๋กœ์ŠคํŽ˜๋ผ: ๋ชจ๋‘๋ฅผ ๋ฉธ๋ง์— ๋น ๋œจ๋ ค ๊ด‘๋ž€์„ ๋ถˆ๋Ÿฌ์˜ค๊ฒ ๋‹ค.
09:58
Ariel: I have made you mad.
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์•„๋ฆฌ์—˜: ๋‚ด๊ฐ€ ๋„ˆํฌ๋“ค์˜ ๋ถ„๋…ธ์— ๋ถˆ์„ ๋ถ™์˜€๋‹ค.
10:08
Prospera: We are such stuff as dreams are made on.
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ํ”„๋กœ์ŠคํŽ˜๋ผ: ์šฐ๋ฆฌ๋Š” ๊ฟˆ์œผ๋กœ ๋งŒ๋“ค์–ด์ง„ ์กด์žฌ์ด๋‹ค.
10:11
and our little life is rounded with a sleep.
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์ž ์œผ๋กœ ๋‘˜๋Ÿฌ์‹ธ์ธ ๋ณด์ž˜๊ฒƒ ์—†๋Š” ํ•œํ‰์ƒ.
10:16
(Music)
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(์Œ์•…)
10:21
JT: Okay.
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์ค„๋ฆฌ ํ…Œ์ด๋จธ: ๋„ค.
(๋ฐ•์ˆ˜)
10:24
(Applause)
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"ํ…œํ”ผ์ŠคํŠธ"๋Š” ์•„์ฃผ ์ ์€ ์˜ˆ์‚ฐ์˜
10:28
So I went from theater, doing "The Tempest"
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10:30
on the stage in a very low-budget production
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์—ฐ๊ทน์ด์—ˆ์Šต๋‹ˆ๋‹ค.
10:33
many years ago,
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์˜ค๋ž˜ ์ „ ์ผ์ด์ฃ .
10:34
and I love the play, and I also think
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์ „ ๊ทธ ์—ฐ๊ทน์„ ์ •๋ง ์ข‹์•„ํ–ˆ์–ด์š”.
์ œ๊ฐ€ ์•Œ๊ธฐ๋กœ๋Š” ์…ฐ์ต์Šคํ”ผ์–ด์˜ ๋งˆ์ง€๋ง‰ ๊ทน์ž‘์ผํ…๋ฐ์š”.
10:37
it's Shakespeare's last play,
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๋ณด์‹œ๋‹ค์‹œํ”ผ ํ›Œ๋ฅญํ•˜๊ฒŒ ์˜ํ™”๋กœ ๋ณ€์‹ ํ–ˆ์Šต๋‹ˆ๋‹ค.
10:39
and it really lends itself, as you can see, to cinema.
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10:42
But I'm just going to give you a little example about
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์˜ˆ๋ฅผ ํ•˜๋‚˜ ๋“ค์–ด ๋ณผ๊นŒ์š”.
10:45
how one stages it in theater
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๋ฌด๋Œ€ ๊ณต์—ฐ์„ ๊ธฐํšํ•˜๋Š” ๊ฒƒ๊ณผ
10:47
and then how one takes that same idea or story
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๊ฐ™์€ ์ƒ๊ฐ, ๊ฐ™์€ ์ด์•ผ๊ธฐ๋ฅผ ์˜ํ™”๋กœ ์˜ฎ๊ธธ ๋•Œ์˜
10:51
and moves it into cinema.
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๋ฐฉ๋ฒ•์˜ ์ฐจ์ด๋ฅผ์š”.
10:54
The ideograph that I talked to you about before,
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์กฐ๊ธˆ ์ „ ๋ง์”€๋“œ๋ฆฐ ํ‘œ์˜๋ฌธ์ž ๋ง์ธ๋ฐ์š”.
10:57
what is it for "The Tempest"?
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"ํ…œํ”ผ์ŠคํŠธ"์—์„œ ํ‘œ์˜๋ฌธ์ž์˜ ์—ญํ• ์ด ๋ญ˜๊นŒ์š”?
10:59
What, if I were to boil it down,
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์ด์•ผ๊ธฐ๋ฅผ ์••์ถ•ํ•˜๋Š”
11:02
would be the one image that I could
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ํ•˜๋‚˜์˜ ์ด๋ฏธ์ง€๋ฅผ ๊ณ ๋ฅธ๋‹ค๋ฉด
11:04
hang my hat on for this?
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๋ฌด์—‡์ผ๊นŒ์š”?
11:06
And it was the sand castle,
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๋ฐ”๋กœ ๋ชจ๋ž˜์„ฑ์ž…๋‹ˆ๋‹ค.
11:09
the idea of nurture versus nature,
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ํ™˜๊ฒฝ๋ก ๊ณผ ๊ฒฐ์ •๋ก ์˜ ๋Œ€๋ฆฝ์ด์ฃ .
11:12
that we build these civilizations --
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์šฐ๋ฆฌ๊ฐ€ ๋ฌธ๋ช…์„ ๊ฑด์„คํ•ด๋„
11:14
she speaks about it at the end, Helen Mirren's Prospera --
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ํ”„๋กœ์ŠคํŽ˜๋ผ๋ฅผ ๋งก์€ ํ—ฌ๋ Œ ๋ฏธ๋ Œ์ด ์˜ํ™”์—์„œ ๋งํ–ˆ๋“ฏ
11:17
we build them, but under nature, under the grand tempest,
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์ธ๊ฐ„์€ ๋ฌธ๋ช…์„ ๊ฑด์„คํ•˜์ง€๋งŒ ๊ฑฐ๋Œ€ํ•œ ํญํ’ ์•ž์—์„œ๋Š”
11:23
these cloud-capped towers, these gorgeous palaces will fade
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ํ•˜๋Š˜์„ ์ฐŒ๋ฅด๋Š” ํƒ‘๋„, ์•„๋ฆ„๋‹ค์šด ์„ฑ๋„ ์†Œ์šฉ์—†์œผ๋‹ˆ๊นŒ์š”.
11:28
and there will -- leave not a rack behind.
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๋ชจ๋‘ ๋‚จ๊น€์—†์ด ์‚ฌ๋ผ์ง€์ฃ .
11:32
So in the theater, I started the play,
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๊ทน์žฅ์—์„œ ์—ฐ๊ทน์„ ํ•  ๋•
11:35
it was a black sand rake, white cyc,
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ํฐ์ƒ‰ ๋ฐฐ๊ฒฝ์— ๊ฒ€์€์ƒ‰ ๋ชจ๋ž˜ ๊ฐˆํ€ด๋ฅผ ๋“ 
11:38
and there was a little girl, Miranda, on the horizon,
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์ž‘์€ ์†Œ๋…€ ๋ฏธ๋ž€๋‹ค๊ฐ€ ์ˆ˜ํ‰์„  ์œ„์—์„œ
11:41
building a drip castle, a sand castle.
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๋ชจ๋ž˜๋ฅผ ํ˜๋ฆฌ๋ฉฐ ๋ชจ๋ž˜์„ฑ์„ ๋งŒ๋“ญ๋‹ˆ๋‹ค.
11:44
And as she was there on the edge of that stage,
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๋ฏธ๋ž€๋‹ค๊ฐ€ ๋ฌด๋Œ€ ๊ฐ€์žฅ์ž๋ฆฌ์— ๋ชจ๋ž˜์„ฑ์„ ๋งŒ๋“œ๋Š” ๋™์•ˆ
11:47
two stagehands all in black
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์˜จํ†ต ๊ฒ€๊ฒŒ ๋ถ„์žฅํ•œ ๋‹ด๋‹น์ž ๋‘ ๋ช…์ด
11:51
with watering cans ran along the top
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๋ฌผ์ด ์ถœ๋ ์ด๋Š” ๋ฌผ๋ฟŒ๋ฆฌ๊ฐœ๋ฅผ ๋“ค๊ณ  ์˜ฌ๋ผ์™€์„œ
11:55
and started to pour water on the sand castle,
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๋ชจ๋ž˜์„ฑ ์œ„๋กœ ๋ฌผ์„ ๋ฟŒ๋ฆฌ๊ธฐ ์‹œ์ž‘ํ•ฉ๋‹ˆ๋‹ค.
12:00
and the sand castle started to drip and sink,
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๊ทธ๋Ÿฌ๋ฉด ๋ชจ๋ž˜์„ฑ์ด ๋ฌด๋„ˆ์ง€์ฃ .
12:02
but before it did,
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ํ•˜์ง€๋งŒ ๊ทธ ์ „์—
12:04
the audience saw the black-clad stagehands.
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๊ด€๊ฐ์€ ์ด๋ฏธ ์ด ์‚ฌ๋žŒ๋“ค์„ ๋ณผ ์ˆ˜ ์žˆ์–ด์š”.
12:08
The medium was apparent. It was banal. We saw it.
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ํŠน๋ณ„ํ•  ๊ฒƒ๋„ ์—†๋Š” ๋ป”ํ•œ ๋ฐฉ๋ฒ•์ž…๋‹ˆ๋‹ค.
12:13
But as they started to pour the water,
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๊ทธ๋ ‡์ง€๋งŒ ์ด๋“ค์ด ๋ฌผ์„ ๋ฟŒ๋ฆฌ๊ธฐ ์‹œ์ž‘ํ•˜๋ฉด
12:16
the light changed from showing you the black-clad stagehands
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์ด๋“ค์„ ๋น„์ถ”๋˜ ์กฐ๋ช…์ด ๋Œ€์ƒ์„ ๋ฐ”๊ฟ‰๋‹ˆ๋‹ค.
12:19
to focusing, this rough magic that we do in theater,
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์—ฐ๊ทน์—์„œ ์‚ฌ์šฉํ•˜๋Š” ๋งˆ์ˆ ์ด๋ผ๊ณ ๋‚˜ ํ• ๊นŒ์š”.
12:23
it focused right on the water itself.
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์กฐ๋ช…์€ ์ด์ œ ๋ฌผ์„ ๋น„์ถฅ๋‹ˆ๋‹ค.
12:26
And all of a sudden, the audience's perspective changes.
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๊ฐ‘์ž๊ธฐ ๊ด€๊ฐ์˜ ์‹œ์„ ๋„ ๋ฐ”๋€Œ๊ฒŒ ๋˜์ฃ .
12:30
It becomes something magically large.
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๋ฌผ์ด ๋งˆ์ˆ ์ฒ˜๋Ÿผ ์ ์  ๋ถˆ์–ด๋‚˜
12:34
It becomes the rainstorm.
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ํญ์šฐ๊ฐ€ ์‹œ์ž‘๋ฉ๋‹ˆ๋‹ค.
๊ฐ€๋ฉด์„ ์“ด ๋ฐฐ์šฐ์™€ ์†Œํ’ˆ์„ ์กฐ์ข…ํ•˜๋Š” ๋‹ด๋‹น์ž๋„ ์‚ฌ๋ผ์ง€๊ณ 
12:37
The masked actors, the puppeteers, they disappear,
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12:40
and the audience makes that leap into this world,
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๊ด€๊ฐ์€ ์—ฐ๊ทน ์†์˜ ์„ธ์ƒ์œผ๋กœ ๋น ์ ธ๋“ค๊ฒŒ ๋ฉ๋‹ˆ๋‹ค.
12:43
into this imaginary world of "The Tempest" actually happening.
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์‹ค์ œ๋กœ "ํ…œํ”ผ์ŠคํŠธ"๊ฐ€ ๋ชฐ์•„์น˜๋Š” ์ด ์ƒ์ƒ์˜ ์„ธ๊ณ„๋กœ์š”.
12:48
Now the difference
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์ด ์ž‘ํ’ˆ์„ ์˜ํ™”๋กœ ์˜ฎ๊ฒผ์„ ๋•Œ
12:49
when I went and did it in the cinema,
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์—ฐ๊ทน๊ณผ ๋‹ฌ๋ž๋˜ ์ ์€
12:52
I started the actual movie
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์˜ํ™”์˜ ๋ชจ๋ž˜์„ฑ์€
12:54
with a close-up of a sand castle, a black sand castle,
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ํด๋กœ์ฆˆ์—…ํ•œ ๊ฒ€์€ ๋ชจ๋ž˜์„ฑ์ด์—ˆ์–ด์š”.
12:59
and what cinema can do is,
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์˜ํ™”๋ฅผ ์ดฌ์˜ํ•  ๋•
13:01
by using camera, perspective,
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์นด๋ฉ”๋ผ๋กœ ์‹œ์„ ์„ ์˜ฎ๊ธฐ์ฃ .
13:05
and also long shots and close-ups,
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๋จผ ๊ณณ์„ ๋ณผ ์ˆ˜๋„, ๊ฐ€๊นŒ์šด ๊ณณ์„ ๋ณผ ์ˆ˜๋„ ์žˆ๊ณ ์š”.
13:08
it started on a close-up of the sand castle,
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์˜ํ™”์—์„œ๋Š” ํด๋กœ์ฆˆ์—…ํ•œ ๋ชจ๋ž˜์„ฑ์—์„œ ์‹œ์ž‘ํ•˜์—ฌ
13:10
and as it pulled away,
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์ ์  ๋’ค๋กœ ๋ฌผ๋Ÿฌ๋‚ฉ๋‹ˆ๋‹ค.
13:12
you saw that it was a miniature sitting in the palm
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๊ทธ๋Ÿฌ๋ฉด ์ด ๋ชจ๋ž˜์„ฑ์ด ์†Œ๋…€์˜ ์†๋ฐ”๋‹ฅ ์œ„์— ๋†“์ธ
13:15
of the girl's hands.
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์ž‘์€ ๋ชจํ˜•์ด๋ผ๋Š” ๊ฒƒ์ด ๋“œ๋Ÿฌ๋‚˜๊ณ ์š”.
13:17
And so I could play with the medium,
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ํ‘œํ˜„ ์ˆ˜๋‹จ์„ ์ž์œ ์ž์žฌ๋กœ ์‚ฌ์šฉํ•˜๋Š” ๊ฑฐ์ฃ .
13:18
and why I move from one medium to another
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์ œ๊ฐ€ ์—ฌ๋Ÿฌ ์ˆ˜๋‹จ์„ ์‚ฌ์šฉํ•˜๋Š” ์ด์œ ๊ฐ€
13:21
is to be able to do this.
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๋ฐ”๋กœ ์ด๊ฒƒ ๋•Œ๋ฌธ์ž…๋‹ˆ๋‹ค.
13:23
Now I'm going to take you to "Spider-Man."
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์ด์ œ ๋ณด์‹ค ์žฅ๋ฉด์€ "์ŠคํŒŒ์ด๋”๋งจ" ์˜ ์ผ๋ถ€์ž…๋‹ˆ๋‹ค.
13:25
(Music)
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(์Œ์•…)
13:56
(Video) Peter Parker: โ™ช Standing on the precipice,
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(์˜์ƒ) ํ”ผํ„ฐ ํŒŒ์ปค: (๋…ธ๋ž˜) ๋‚ญ๋– ๋Ÿฌ์ง€ ์œ„์—์„œ๋„
13:59
I can soar away from this. โ™ช
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๋‚œ ํ•˜๋Š˜๋กœ ์†Ÿ์•„์˜ค๋ฅด์ง€.
14:04
JT: We're trying to do everything in live theater
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์ค„๋ฆฌ ํ…Œ์ด๋จธ: ์ €ํฌ๋Š” ์‹ค์ œ ์—ฐ๊ทน์—์„œ๋งŒ ๊ฐ€๋Šฅํ•œ
14:06
that you can't do in two dimensions
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๋ชจ๋“  ๊ฒƒ์„ ์‹คํ—˜ํ•˜๊ณ ์ž ํ•ฉ๋‹ˆ๋‹ค.
14:08
in film and television.
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ํ‰ํ‰ํ•œ ํ™”๋ฉด ์†์˜ ์˜ํ™”๋‚˜ TV์—์„  ๋ณผ ์ˆ˜ ์—†๋Š” ๊ฒƒ๋“ค์š”.
14:10
PP: โ™ช Rise above yourself and take control. โ™ช
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ํ”ผํ„ฐ ํŒŒ์ปค: (๋…ธ๋ž˜) ํ•˜๋Š˜๋กœ ์†Ÿ์•„์˜ฌ๋ผ ์„ธ์ƒ์„ ์ •๋ณตํ•˜๋ฆฌ
14:14
George Tsypin: We're looking at New York from a Spider-Man point of view.
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์กฐ์ง€ ์น˜ํ•€: ๊ด€๊ฐ๋„ ์ŠคํŒŒ์ด๋”๋งจ์˜ ์‹œ์„ ์œผ๋กœ ๋‰ด์š•์„ ๋ณด๊ฒŒ ๋ฉ๋‹ˆ๋‹ค.
์ŠคํŒŒ์ด๋”๋งจ์€ ์ค‘๋ ฅ์˜ ์˜ํ–ฅ์„ ๋ฐ›์ง€ ์•Š์ฃ .
14:18
Spider Man is not bound by gravity.
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14:20
Manhattan in the show is not bound by gravity either.
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๋ฌด๋Œ€ ์œ„์˜ ๋งจํ•˜ํƒ„๋„ ๋งˆ์ฐฌ๊ฐ€์ง€๊ณ ์š”.
14:23
PP: โ™ช Be yourself and rise above it all. โ™ช
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ํ”ผํ„ฐ ํŒŒ์ปค: (๋…ธ๋ž˜) ์ฒœํ•˜๋ฅผ ํ˜ธ๋ นํ•˜๋Š” ์ง„์ •ํ•œ ๋‚˜๋ฅผ ์ฐพ์•„
14:27
Ensemble: โ™ช Sock! Pow! โ™ช
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ํ•ฉ์ฐฝ: ํŽ€์น˜! ์ฟต!
14:31
โ™ช Slam! Scratch! โ™ช
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(ํ•ฉ์ฐฝ) ์šฐ์ง€๋ˆ! ์“ฑ์‹น!
14:34
Danny Ezralow: I don't want you to even think there's a choreographer.
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๋Œ€๋‹ˆ ์—์ฆˆ๋ผ๋กœ์šฐ: ์•ˆ๋ฌด๊ฐ€๊ฐ€ ๋งŒ๋“  ๋ฌด์šฉ์œผ๋กœ ๋ณด์‹œ์ง€ ๋ง์•˜์œผ๋ฉด ํ•ด์š”.
14:36
It's real, what's happening.
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์ด๊ฑด ์‹ค์ œ๋กœ ์ผ์–ด๋‚˜๋Š” ์ผ์ด๊ฑฐ๋“ ์š”.
14:37
I prefer you to see people moving,
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๋ฐฐ์šฐ์˜ ์›€์ง์ž„์„ ๋ณด๊ณ 
"์™€, ๋Œ€๋‹จํ•œ๋ฐ?" ํ•˜๊ณ  ๋†€๋ผ์‹ ๋‹ค๋ฉด ์ข‹๊ฒ ์Šต๋‹ˆ๋‹ค.
14:40
and you're going, "Whoa, what was that?"
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14:42
(Music)
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(์Œ์•…)
14:55
JT: If I give enough movement in the sculpture,
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์ค„๋ฆฌ ํ…Œ์ด๋จธ: ์ด ๊ฐ€๋ฉด์— ์ข€๋” ์—ญ๋™์„ฑ์„ ๊ฐ€๋ฏธํ•˜๋ฉด
๋ฐฐ์šฐ๊ฐ€ ๋จธ๋ฆฌ๋ฅผ ์›€์ง์ž„์— ๋”ฐ๋ผ ์ƒ๋™๊ฐ์ด ๋Š๊ปด์งˆ ๊ฒ๋‹ˆ๋‹ค.
14:57
and the actor moves their head, you feel like it's alive.
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15:00
It's really comic book live. It's a comic book coming alive.
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๋งŒํ™”์ฑ…์ด ์ •๋ง๋กœ ์‚ด์•„ ์›€์ง์ด๋Š” ๊ฒƒ์ฒ˜๋Ÿผ์š”.
(์Œ์•…)
15:03
(Music)
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15:10
Bono: They're mythologies.
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๋ณด๋…ธ: ์ผ์ข…์˜ ์‹ ํ™”์ž–์•„์š”.
15:11
They're modern myths, these comic book heroes.
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๋งŒํ™”์ฑ… ์†์˜ ์˜์›…์€ ํ˜„๋Œ€ํŒ ์‹ ํ™”๋ผ๊ณ  ํ•  ์ˆ˜ ์žˆ์ฃ .
15:15
PP: โ™ช They believe. โ™ช
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ํ”ผํ„ฐ ํŒŒ์ปค: (๋…ธ๋ž˜) ๋‹ค๋“ค ๋ฏฟ๊ณ  ์žˆ์–ด
15:21
(Screams)
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(๊ณ ํ•จ ์†Œ๋ฆฌ)
(์Œ์•…)
15:25
(Music)
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15:42
(Applause)
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(๋ฐ•์ˆ˜)
15:45
JT: Ohhhh. What was that?
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์ค„๋ฆฌ ํ…Œ์ด๋จธ: ์™€, ๋Œ€๋‹จํ•œ๋ฐ์š”?
์„œ์ปค์Šค, ๋กํฐ๋กค์— ๋“œ๋ผ๋งˆ๊นŒ์ง€
15:49
Circus, rock 'n' roll, drama.
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15:51
What the hell are we doing up there on that stage?
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๋ฌด๋Œ€ ์œ„์—์„œ ๋ณ„๊ฑธ ๋‹ค ํ–ˆ๋„ค์š”.
15:54
Well, one last story, very quickly.
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์งง์€ ์–˜๊ธฐ ํ•˜๋‚˜๋กœ ๋งˆ๋ฌด๋ฆฌํ•˜๊ฒ ์Šต๋‹ˆ๋‹ค.
15:57
After I was in that village, I crossed the lake,
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๊ทธ ๋งˆ์„์—์„œ์˜ ์ผ ์ดํ›„ ์ „ ํ˜ธ์ˆ˜ ๊ฑด๋„ˆ ๋ฐ˜๋Œ€ํŽธ์œผ๋กœ ๊ฐ”์–ด์š”.
16:00
and I saw that the volcano was erupting
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๊ทธ๊ณณ์—์„œ ํ™”์‚ฐ ํญ๋ฐœ์„ ๋ณด์•˜์Šต๋‹ˆ๋‹ค.
16:03
on the other side, Gunung Batur,
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๋ฐ”ํˆฌ๋ฅด ์‚ฐ์˜ ๋ฐ˜๋Œ€ํŽธ์ด์—ˆ์ฃ .
16:05
and there was a dead volcano next to the live volcano.
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์‚ฌํ™”์‚ฐ๊ณผ ํ™œํ™”์‚ฐ์ด ํ•จ๊ป˜ ์žˆ์—ˆ์–ด์š”.
16:08
I didn't think I'd be swallowed by the volcano,
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์šฉ์•”์ด ์ ˆ ๋ฎ์น ๊นŒ๋ด ๊ฒ๋‚˜์ง€๋Š” ์•Š์•˜์Šต๋‹ˆ๋‹ค.
16:10
and I am here.
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์‚ด์•„์„œ ์—ฌ๊ธฐ ์žˆ์ž–์•„์š”.
16:11
But it's very easy to climb up, is it not?
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์‚ฐ์„ ์˜ค๋ฅด๋Š” ๊ฑด ์‰ฝ์ฃ , ์•„๋‹Œ๊ฐ€์š”?
16:15
You hold on to the roots,
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๋‚˜๋ฌด ๋ฟŒ๋ฆฌ๋ฅผ ์›€์ผœ์ฅ๊ณ 
์ž‘์€ ๋Œ ํ‹ˆ์— ๋ฐœ์„ ๋””๋””๋ฉด์„œ
16:17
you put your foot in the little rocks
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16:20
and climb up there, and you get to the top,
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์œ„๋กœ ์˜ฌ๋ผ๊ฐ€๋ฉด ์ •์ƒ์— ๋‹ค๋‹ค๋ฅด์ž–์•„์š”.
16:23
and I was with a good friend who was an actor,
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๋‹น์‹œ ์ €๋Š” ๋ฐฐ์šฐ์˜€๋˜ ํ•œ ์นœ๊ตฌ์™€ ๊ฐ™์ด ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค.
16:25
and we said, "Let's go up there.
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๊ทธ ์นœ๊ตฌ์™€ ํ•จ๊ป˜ ์‚ฐ์„ ์˜ค๋ฅด๊ธฐ๋กœ ํ–ˆ์ฃ .
16:27
Let's see if we can come close to the edge
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์‚ด์•„์žˆ๋Š” ํ™”์‚ฐ์˜ ๋ถ„ํ™”๊ตฌ์—
16:29
of that live volcano."
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์–ผ๋งˆ๋‚˜ ๊ฐ€๊นŒ์ด ๊ฐˆ ์ˆ˜ ์žˆ์„์ง€ ์•Œ๊ณ  ์‹ถ์—ˆ๊ฑฐ๋“ ์š”.
16:31
And we climbed up and we got to the very top,
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๊ทธ๋ž˜์„œ ์‚ฐ์„ ์˜ฌ๋ผ ์ •์ƒ์— ๋„์ฐฉํ•˜๋‹ˆ
16:34
and we're on the edge, on this precipice,
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๋‚ญ๋– ๋Ÿฌ์ง€์˜€์–ด์š”.
16:36
Roland disappears into the sulfur smoke
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์นœ๊ตฌ ๋กค๋žœ๋“œ๋Š” ์œ ํ™ฉ ์—ฐ๊ธฐ๋ฅผ ๋šซ๊ณ 
16:39
at the volcano at the other end,
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๋ฐ˜๋Œ€์ชฝ์— ์žˆ๋Š” ํ™”์‚ฐ์„ ๋ณด๋Ÿฌ ๊ฐ”์Šต๋‹ˆ๋‹ค.
16:41
and I'm up there alone
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์ „ ๊ทธ ์œ„์—์„œ ํ™€๋กœ
์žฅ์—„ํ•œ ๋‚ญ๋– ๋Ÿฌ์ง€ ์œ„์— ์„œ์žˆ์—ˆ์ฃ .
16:43
on this incredible precipice.
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16:45
Did you hear the lyrics?
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์•„๊นŒ ๋…ธ๋žซ๋ง์—๋„ ๋‚˜์™”์ฃ ?
16:47
I'm on the precipice looking down
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๊ทธ ๋‚ญ๋– ๋Ÿฌ์ง€์—์„œ ์•„๋ž˜๋ฅผ ๋‚ด๋ ค๋‹ค๋ณด๋‹ˆ
16:49
into a dead volcano to my left.
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์ œ ์™ผ์ชฝ์—๋Š” ์‚ฌํ™”์‚ฐ์˜ ๋ถ„ํ™”๊ตฌ๊ฐ€ ์žˆ์—ˆ๊ณ 
16:52
To my right is sheer shale. It's coming off.
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์˜ค๋ฅธ์ชฝ์€ ์ž˜ ๋ถ€์„œ์ง€๋Š” ๋ฐ”์œ„์ธต์ด์—ˆ์Šต๋‹ˆ๋‹ค.
16:55
I'm in thongs and sarongs. It was many years ago.
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์ „ ์Šฌ๋ฆฌํผ์— ์ธ๋„๋„ค์‹œ์•„ ์ „ํ†ต ์น˜๋งˆ์ธ ์‚ฌ๋กฑ ์ฐจ๋ฆผ์ด์—ˆ์Šต๋‹ˆ๋‹ค.
16:59
And no hiking boots.
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๋“ฑ์‚ฐํ™”๋„ ์—†์—ˆ์ฃ .
17:01
And he's disappeared, this mad French gypsy actor,
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์ž์œ ๋กœ์šด ํ”„๋ž‘์Šค์ธ์ธ ์ œ ์นœ๊ตฌ๋Š” ์ด๋ฏธ ์‚ฌ๋ผ์ง„ ํ›„์˜€๊ณ ์š”.
๊ฑฐ๊ธฐ์„œ ๊นจ๋‹ฌ์•˜์ฃ .
17:05
off in the smoke, and I realize,
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17:08
I can't go back the way that I've come. I can't.
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์˜ฌ๋ผ์˜จ ๊ธธ๋กœ๋Š” ์ ˆ๋Œ€ ๋‚ด๋ ค๊ฐˆ ์ˆ˜ ์—†์—ˆ์–ด์š”.
์ „ ์นด๋ฉ”๋ผ์™€ ์Šฌ๋ฆฌํผ๋ฅผ ๋ฒ—์–ด ๋˜์ง€๊ณ 
17:12
So I throw away my camera. I throw away my thongs,
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์ ˆ๋ฒฝ ๊ฐ€์žฅ์ž๋ฆฌ์˜ ์„ ์„ ๋ฐ”๋ผ๋ณด์•˜์Šต๋‹ˆ๋‹ค.
17:17
and I looked at the line straight in front of me,
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๊ทธ๋ฆฌ๊ณ  ๊ณ ์–‘์ด์ฒ˜๋Ÿผ ๋ฐ”๋‹ฅ์— ์—Ž๋“œ๋ ค์„œ
17:20
and I got down on all fours like a cat,
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๋ถ„ํ™”๊ตฌ์˜ ์ ˆ๋ฒฝ์„ ๋ฌด๋ฆŽ์œผ๋กœ ์ง€ํƒฑํ•˜๋ฉฐ
17:24
and I held with my knees to either side
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17:27
of this line in front of me,
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์ œ ๋ˆˆ ์•ž์— ๋†“์ธ
17:29
for 30 yards or 30 feet, I don't know.
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10๋ฏธํ„ฐ, 30๋ฏธํ„ฐ์˜ ๊ฐ€๋Š๋‹ค๋ž€ ์„ ์„ ๋ฐ”๋ผ๋ณด์•˜์ฃ .
17:32
The wind was massively blowing,
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๋ฐ”๋žŒ๋„ ๋งค์„ญ๊ฒŒ ๋ถˆ์—ˆ์Šต๋‹ˆ๋‹ค.
17:35
and the only way I could get to the other side
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๋ฐ˜๋Œ€ํŽธ์œผ๋กœ ๊ฐ€๋Š” ์œ ์ผํ•œ ๋ฐฉ๋ฒ•์€
17:38
was to look at the line straight in front of me.
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๋ˆˆ ์•ž์˜ ์ด ๊ฐ€๋Š๋‹ค๋ž€ ์„ ์„ ๋†“์น˜์ง€ ์•Š๋Š” ๊ฒƒ์ด์—ˆ์–ด์š”.
์—ฌ๋Ÿฌ๋ถ„๋„ ์ด์™€ ๋น„์Šทํ•œ ๊ฒฝํ—˜์„ ํ•˜์…จ๊ฒ ์ฃ .
17:41
I know you've all been there.
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์ €๋Š” ์ง€๊ธˆ ์šฉ๊ด‘๋กœ ์†์— ์žˆ์Šต๋‹ˆ๋‹ค.
17:43
I'm in the crucible right now.
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๋ถˆ๋กœ ์ €๋ฅผ ๋‹จ๋ จํ•˜๋Š” ์‹œ๊ฐ„์ด์ฃ .
17:45
It's my trial by fire.
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์ €ํฌ ํšŒ์‚ฌ๋„ ๋‹จ๋ จํ•˜๊ณ ์š”.
17:47
It's my company's trials by fire.
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17:49
We survive because our theme song is "Rise Above."
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์ €ํฌ๋Š” ๋ฎค์ง€์ปฌ์˜ ์ฃผ์ œ๊ฐ€ "์†Ÿ์•„์˜ค๋ฅด๋‹ค" ์ฒ˜๋Ÿผ ์‚ด์•„๋‚จ์•˜์Šต๋‹ˆ๋‹ค.
17:53
Boy falls from the sky, rise above.
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ํ•˜๋Š˜์—์„œ ๋–จ์–ด์ง€๋˜ ์†Œ๋…„์ด ์†Ÿ์•„์˜ค๋ฅด๋“ฏ์ด์š”.
17:56
It's right there in the palm of both of our hands,
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๋ฐ”๋กœ ์šฐ๋ฆฌ ์†์— ๋‹ฌ๋ ค์žˆ๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
์ €์™€ ์ œ ๋™๋ฃŒ๋“ค์˜ ์†์—์š”.
17:59
of all of my company's hands.
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18:00
I have beautiful collaborators, and we as creators
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์ œ์ž‘์ž๋กœ์„œ ์ €ํฌ๋Š” ์ข‹์€ ์‚ฌ๋žŒ๋“ค์˜ ๋„์›€์œผ๋กœ
๋‹คํ•จ๊ป˜ ์ •์ƒ์— ์˜ค๋ฅผ ๊ฒ๋‹ˆ๋‹ค.
18:04
only get there all together.
324
1084340
1987
18:06
I know you understand that.
325
1086351
2165
์—ฌ๋Ÿฌ๋ถ„๋“ค๋„ ์•„์‹œ๋ฆฌ๋ผ ๋ฏฟ์–ด์š”.
18:08
And you just stay going forward,
326
1088540
2401
๊ณ„์† ์•ž์œผ๋กœ ๋‚˜์•„๊ฐ€๋ฉฐ
18:10
and then you see this extraordinary thing
327
1090965
2617
๋ˆˆ์•ž์— ํŽผ์ณ์ง€๋Š” ์•„๋ฆ„๋‹ค์›€์„
18:13
in front of your eyes.
328
1093606
1522
์ƒ์ƒํžˆ ๋ชฉ๊ฒฉํ•˜๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
18:15
Thank you.
329
1095152
1276
๊ณ ๋ง™์Šต๋‹ˆ๋‹ค.
18:16
(Applause)
330
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5447
(๋ฐ•์ˆ˜)
์ด ์›น์‚ฌ์ดํŠธ ์ •๋ณด

์ด ์‚ฌ์ดํŠธ๋Š” ์˜์–ด ํ•™์Šต์— ์œ ์šฉํ•œ YouTube ๋™์˜์ƒ์„ ์†Œ๊ฐœํ•ฉ๋‹ˆ๋‹ค. ์ „ ์„ธ๊ณ„ ์ตœ๊ณ ์˜ ์„ ์ƒ๋‹˜๋“ค์ด ๊ฐ€๋ฅด์น˜๋Š” ์˜์–ด ์ˆ˜์—…์„ ๋ณด๊ฒŒ ๋  ๊ฒƒ์ž…๋‹ˆ๋‹ค. ๊ฐ ๋™์˜์ƒ ํŽ˜์ด์ง€์— ํ‘œ์‹œ๋˜๋Š” ์˜์–ด ์ž๋ง‰์„ ๋”๋ธ” ํด๋ฆญํ•˜๋ฉด ๊ทธ๊ณณ์—์„œ ๋™์˜์ƒ์ด ์žฌ์ƒ๋ฉ๋‹ˆ๋‹ค. ๋น„๋””์˜ค ์žฌ์ƒ์— ๋งž์ถฐ ์ž๋ง‰์ด ์Šคํฌ๋กค๋ฉ๋‹ˆ๋‹ค. ์˜๊ฒฌ์ด๋‚˜ ์š”์ฒญ์ด ์žˆ๋Š” ๊ฒฝ์šฐ ์ด ๋ฌธ์˜ ์–‘์‹์„ ์‚ฌ์šฉํ•˜์—ฌ ๋ฌธ์˜ํ•˜์‹ญ์‹œ์˜ค.

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