Maira Kalman: The illustrated woman

45,476 views ใƒป 2007-10-16

TED


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

๋ฒˆ์—ญ: Mihye Lee ๊ฒ€ํ† : Ji hyun Lee
00:25
What I am always thinking about
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์ด ๊ฐ•์˜์—์„œ ๋งํ•˜๋ ค ํ•˜๋Š” ๊ฒƒ์€
00:28
is what this session is about, which is called simplicity.
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์ œ๊ฐ€ ํ•ญ์ƒ ์ƒ๊ฐํ•˜๊ณ  ์žˆ๋Š”๊ฒƒ์ธ๋ฐ์š”, ๊ทธ๊ฒƒ์€ ๋‹จ์ˆœํ•จ์ž…๋‹ˆ๋‹ค.
00:32
And almost, I would almost call it being simple-minded,
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๋‹จ์ˆœํ•œ ์ƒํƒœ๊ฐ€ ๋˜๋Š”๊ฒƒ์ด๋ผ ๋งํ•˜๊ณ  ์‹ถ์ง€๋งŒ
00:36
but in the best sense of the word.
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๊ทธ๊ฒƒ์ด ๊ฐ€์žฅ ์ ํ•ฉ ๋‹จ์–ด๊ฐ™์Šต๋‹ˆ๋‹ค.
00:38
I'm trying to figure out two very simple things:
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์ „ ๋‘๊ฐ€์ง€ ๋งค์šฐ ๋‹จ์ˆœํ•œ ๊ฒƒ๋“ค์„ ์ถ”๊ตฌํ•˜๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค:
00:42
how to live and how to die, period.
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์–ด๋–ป๊ฒŒ ์‚ด๊ณ  ์–ด๋–ป๊ฒŒ ์ฃฝ์„๊ฒƒ์ธ๊ฐ€ํ•˜๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
00:44
That's all I'm trying to do, all day long.
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ํ•˜๋ฃจ์ข…์ผ ๊ทธ๊ฒƒ๋งŒ ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค.
00:46
And I'm also trying to have some meals, and have some snacks,
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๊ทธ๋ฐ–์—๋„ ์‹์‚ฌ๋ฅผ ํ•˜๊ฑฐ๋‚˜ ๊ฐ„์‹์„ ๋จน๊ฑฐ๋‚˜,
00:49
and, you know, and yell at my children, and do all the normal things
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๊ทธ๋ฆฌ๊ณ , ์•„์ด๋“ค์—๊ฒŒ ์ž”์†Œ๋ฆฌํ•˜๊ฑฐ๋‚˜ํ•˜๋Š”,
00:53
that keep you grounded.
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ํ‰๋ฒ”ํ•œ ๋ชจ๋“  ์ผ๋“ค์„ ํ•˜๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
00:56
So, I was fortunate enough to be born a very dreamy child.
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ํ–‰๋ณตํ•˜๊ฒŒ๋„ ์ €๋Š” ๋งค์šฐ ๊ฟˆ๋งŽ์€ ์•„์ด๋กœ ํƒœ์–ด๋‚ฌ์Šต๋‹ˆ๋‹ค.
01:03
My older sister was busy torturing my parents,
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์ œ ์–ธ๋‹ˆ๋Š” ๋ถ€๋ชจ๋‹˜์„ ๊ดด๋กญํžˆ๊ธฐ์— ๋ฐ”๋นด์Šต๋‹ˆ๋‹ค.
01:07
and they were busy torturing her.
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๊ทธ๋ฆฌ๊ณ  ๋ถ€๋ชจ๋‹˜์€ ์ œ ์–ธ๋‹ˆ๋ฅผ ๊ดด๋กญํžˆ๊ธฐ์— ๋ฐ”๋นด์ฃ .
01:09
I was lucky enough to be completely ignored,
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์ œ๊ฐ€ ์™„๋ฒฝํ•˜๊ฒŒ ๋ฌด์‹œ๋‹นํ–ˆ๋˜๊ฒƒ์ด ํ–‰์šด์ด์—ˆ์Šต๋‹ˆ๋‹ค,
01:12
which is a fabulous thing, actually, I want to tell you.
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์‚ฌ์‹ค ๊ทธ๊ฑด ๋ฉ‹์ง„์ผ์ด์—ˆ๋‹ค๊ณ  ๋งํ•˜๊ณ  ์‹ถ์Šต๋‹ˆ๋‹ค.
01:14
So, I was able to completely daydream my way through my life.
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์ธ์ƒ์—์„œ ์ €์˜ ๊ธธ์„ ์™„๋ฒฝํ•˜๊ฒŒ ๊ณต์ƒํ•  ์ˆ˜ ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค.
01:20
And I finally daydreamed my way into NYU, at a very good time, in 1967,
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๊ทธ๋ฆฌ๊ณ , ๋งˆ์นจ๋‚ด 1967๋…„ ์•„์ฃผ ์ข‹์€ ์‹œ๊ธฐ์— ๊ฟˆ๊ฟ”์™”๋˜ ๋‰ด์š•๋Œ€ํ•™์— ์ž…ํ•™ํ–ˆ์Šต๋‹ˆ๋‹ค.
01:27
where I met a man who was trying to blow up the math building of NYU.
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๊ฑฐ๊ธฐ์„œ ์ „ NYU ์ˆ˜ํ•™๊ณผ ๊ฑด๋ฌผ์„ ํญํŒŒ์‹œํ‚ค๋ คํ•˜๋˜ ํ•œ ๋‚จ์ž๋ฅผ ๋งŒ๋‚ฌ์Šต๋‹ˆ๋‹ค.
01:33
And I was writing terrible poetry and knitting sweaters for him.
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๊ทธ๋ฅผ ์œ„ํ•ด ์„œํˆฌ๋ฅธ ์‹œ๋ฅผ ์“ฐ๊ณ  ์Šค์›จํ„ฐ๋ฅผ ์งœ๊ณคํ–ˆ์Šต๋‹ˆ๋‹ค.
01:37
And feminists hated us, and the whole thing was wretched
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์—ฌ์„ฑ์ฃผ์˜์ž๋“ค์€ ์šฐ๋ฆฌ๋ฅผ ์ฆ์˜คํ–ˆ์œผ๋ฉฐ, ์ฒ˜์Œ๋ถ€ํ„ฐ ๋๊นŒ์ง€
01:42
from beginning to end.
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๋ชจ๋“ ๊ฒŒ ๋‹ค ๋น„์ฐธํ–ˆ์—ˆ์ฃ .
01:44
But I kept writing bad poetry, and he didn't blow up the math building,
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๊ทธ๋Ÿฌ๋‚˜, ์ „ ์„œํˆฌ๋ฅธ ์‹œ๋ฅผ ๊ณ„์† ์ผ์œผ๋ฉฐ, ๊ทธ๋Š” ์ˆ˜ํ•™๊ณผ ๊ฑด๋ฌผ์„ ํญํŒŒ์‹œํ‚ค์ง€ ์•Š์•˜์ง€๋งŒ,
01:48
but he went to Cuba.
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์ฟ ๋ฐ”๋กœ ๊ฐ”์Šต๋‹ˆ๋‹ค.
01:49
But I gave him the money, because I was from Riverdale
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๊ทธ๋ž˜๋„ ์ „ ๊ทธ์—๊ฒŒ ๋ˆ์„ ์ฃผ์—ˆ์Šต๋‹ˆ๋‹ค, ์™œ๋ƒํ•˜๋ฉด ์ „ ๋ฆฌ๋ฒ„๋Œ€์ผ์ถœ์‹ ์ด๋ผ์„œ
01:51
so I had more money than he did.
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๊ทธ ๋‚จ์ž๋ณด๋‹ค๋Š” ๋ˆ์„ ๋งŽ์ด ๊ฐ€์ง€๊ณ  ์žˆ์—ˆ๊ฑฐ๋“ ์š”.
01:53
(Laughter)
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(์›ƒ์Œ)
01:54
And that was a good thing to help, you know, the cause.
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๊ทธ์˜ ์‚ฌ๋ช…์„ ๋•๋Š”๊ฒƒ์€ ์ข‹์€ ์ผ์ด๋‹ˆ๊นŒ์š”.
01:58
But, then he came back, and things happened,
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๊ทธ๋Ÿฌ๋‚˜, ๊ทธ๋Š” ๋Œ์•„์™”์œผ๋ฉฐ ์—ฌ๋Ÿฌ๊ฐ€์ง€ ์ผ๋“ค์ด ์ผ์–ด๋‚ฌ์Šต๋‹ˆ๋‹ค.
02:02
and I decided I really hated my writing,
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์ „ ์ €์˜ ๊ธ€์„ ์ •๋ง ์‹ซ์–ดํ•˜๊ฒŒ ๋˜์—ˆ์Šต๋‹ˆ๋‹ค.
02:05
that it was awful, awful, purple prose.
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๋„ˆ๋ฌด ์ด์ƒํ•˜๊ณ  ํ™”๋ คํ•œ ์‚ฐ๋ฌธ์ด์—ˆ์Šต๋‹ˆ๋‹ค.
02:09
And I decided that I wanted to tell --
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์ €๋Š” ์ด์•ผ๊ธฐ๊ฐ€ ํ•˜๊ณ  ์‹ถ์—ˆ์Šต๋‹ˆ๋‹ค.
02:11
but I still wanted to tell a narrative story
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์—ฌ์ „ํžˆ ์ „ ์„ค๋ช…์ ์ธ ์ด์•ผ๊ธฐ๋ฅผ ํ•˜๊ณ  ์‹ถ์—ˆ๊ณ ,
02:13
and I still wanted to tell my stories.
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์ €์˜ ์ด์•ผ๊ธฐ๋“ค์„ ๋งํ•˜๊ณ  ์‹ถ์—ˆ์Šต๋‹ˆ๋‹ค.
02:15
So I decided that I would start to draw. How hard could that be?
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๊ทธ๋ž˜์„œ ์ „ ๊ทธ๋ฆผ ๊ทธ๋ฆฌ๊ธฐ๋ฅผ ์‹œ์ž‘ํ–ˆ์Šต๋‹ˆ๋‹ค. ๊ฐ„๋‹จํ•˜์ฃ ?
02:18
And so what happened was that I started
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๊ทธ๋ž˜์„œ ์ „ ๊ทธ๋ƒฅ ํŽธ์ง‘ ์ผ๋Ÿฌ์ŠคํŠธ๋ ˆ์ดํ„ฐ๊ฐ€
02:23
just becoming an editorial illustrator through, you know,
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๋˜์—ˆ์Šต๋‹ˆ๋‹ค.
02:26
sheer whatever, sheer ignorance.
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์™„์ „ํžˆ ๋ฌด์ง€ํ•จ์„ ํ†ตํ•ด์„œ ๋œ๊ฒƒ์ž…๋‹ˆ๋‹ค.
02:29
And we started a studio.
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๊ทธ๋ฆฌ๊ณ  ์šฐ๋ฆฌ๋Š” ์ŠคํŠœ๋””์˜ค๋ฅผ ์‹œ์ž‘ํ–ˆ์Šต๋‹ˆ๋‹ค.--
02:31
Well, Tibor really started the studio, called M&Co.
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ํ‹ฐ๋ณด(๋‚จํŽธ)์€ ์ •๋ง๋กœ M & Company ๋ผ๋Š” ์ŠคํŠœ๋””์˜ค๋ฅผ ์‹œ์ž‘ํ–ˆ์Šต๋‹ˆ๋‹ค.
02:33
And the premise of M&Co was, we don't know anything,
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์šฐ๋ฆฌ๋Š” ์•„๋ฌด๊ฒƒ๋„ ๋ชฐ๋ž์ง€๋งŒ
02:37
but that's all right, we're going to do it anyway.
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๊ดœ์ฐฎ๋‹ค๊ณ  ์ƒ๊ฐํ–ˆ์Šต๋‹ˆ๋‹ค. ์–ด์จ‹๋“  ํ•  ๊ฑฐ์˜€์œผ๋‹ˆ๊นŒ์š”.
02:39
And as a matter of fact, it's better not to know anything,
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์‚ฌ์‹ค์ƒ, ์•„๋ฌด๊ฒƒ๋„ ๋ชจ๋ฅด๋Š”๊ฒŒ ๋” ์ข‹์Šต๋‹ˆ๋‹ค.
02:41
because if you know too much, you're stymied.
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๋งŒ์•ฝ ๋„ˆ๋ฌด ๋งŽ์ด ์•Œ๋ฉด ๋ฐฉํ•ด๊ฐ€ ๋  ์ˆ˜ ์žˆ๊ธฐ ๋•Œ๋ฌธ์ž…๋‹ˆ๋‹ค.
02:44
So, the premise in the studio was,
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๊ทธ๋ž˜์„œ ์šฐ๋ฆฌ์˜ ์‹œ์ž‘์€
02:47
there are no boundaries, there is no fear.
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์•„๋ฌด๋Ÿฐ ๊ฒฝ๊ณ„๋„ ๋‘๋ ค์›€๋„ ์—†์—ˆ์Šต๋‹ˆ๋‹ค.
02:50
And I -- and my full-time job, I landed the best job on Earth,
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๊ทธ๋ฆฌ๊ณ , ์ €๋Š” ์ด์„ธ์ƒ์—์„œ ๊ฐ€์žฅ ์ข‹์€ ์ผ์— ๋ฐœ์„ ๋“ค์—ฌ๋†“๊ฒŒ ๋˜์—ˆ์Šต๋‹ˆ๋‹ค,
02:53
was to daydream, and to actually come up with absurd ideas
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์ €์˜ ์ „์—…์€ ๊ณต์ƒํ•˜๋Š”๊ฒƒ๊ณผ ์‚ฌ์‹ค์ƒ ํ„ฐ๋ฌด๋‹ˆ์—†๋Š” ์•„์ด๋””์–ด๋“ค์„ ๋‚ด๋†“๋Š” ๊ฒƒ์ด์—ˆ์Šต๋‹ˆ๋‹ค.
02:58
that -- fortunately, there were enough people there,
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์šด์ข‹๊ฒŒ๋„ ๊ฑฐ๊ธฐ์—” ์ถฉ๋ถ„ํ•œ ์‚ฌ๋žŒ๋“ค์ด ์žˆ์—ˆ์œผ๋ฉฐ
03:00
and it was a team, it was a collective,
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ํ•œ ํŒ€์ด์—ˆ๊ณ , ๊ณต๋™์ฒด์˜€์Šต๋‹ˆ๋‹ค.
03:02
it was not just me coming up with crazy ideas.
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์ด์ƒํ•œ ์•„์ด๋””์–ด๋ฅผ ๋‚ด๋Š”๊ฒƒ์ด ์ €๋ฟ์€ ์•„๋‹ˆ์—ˆ์ง€๋งŒ,
03:04
But the point was that I was there as myself, as a dreamer.
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๊ณต์ƒ๊ฐ€๋กœ์„œ,๋‚˜์ž์‹ ์œผ๋กœ์„œ ์žˆ์—ˆ๋‹ค๋Š” ์ ์ด ์ค‘์š”ํ–ˆ์Šต๋‹ˆ๋‹ค.
03:09
And so some of the things -- I mean, it was a long history of M&Co,
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M & Company์˜ ์ปดํŒŒ๋‹ˆ์˜ ์˜ค๋ž˜๋œ ์—ญ์‚ฌ์ธ๋ฐ์š”,
03:12
and clearly we also needed to make some money,
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ํ™•์‹คํžˆ ์šฐ๋ฆฌ๋„ ์ด์ต์„ ๋‚ด์–ด์•ผ ํ–ˆ์Šต๋‹ˆ๋‹ค.
03:16
so we decided we would create a series of products.
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๊ทธ๋ž˜์„œ ์—ฌ๋Ÿฌ๊ฐ€์ง€ ์ƒํ’ˆ์„ ๋งŒ๋“ค๋ ค ํ–ˆ์Šต๋‹ˆ๋‹ค.
03:20
And some of the watches there,
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์—ฌ๊ธฐ ๋ณด์ด๋Š” ์‹œ๊ณ„๋“ค์€,
03:23
attempting to be beautiful and humorous --
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์•„๋ฆ„๋‹ต๊ณ  ์œ ๋จธ์Šค๋Ÿฌ๋Ÿฝ๊ฒŒ ๋งŒ๋“ค๋ ค ํ–ˆ์Šต๋‹ˆ๋‹ค--
03:25
maybe not attempting, hopefully succeeding.
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์‹œ๋„๋งŒ์ด ์•„๋‹ˆ๋ผ, ์„ฑ๊ณตํ•˜๊ธฐ๋ฅผ ๋ฐ”๋žฌ์Šต๋‹ˆ๋‹ค-
03:28
That to be able to talk about content,
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์ฝ˜ํ…์ธ ์— ๊ด€ํ•ด ์–˜๊ธฐํ•  ์ˆ˜ ์žˆ๊ฑฐ๋‚˜,
03:31
to break apart what you normally expect, to use humor and surprise,
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์‚ฌ๋žŒ๋“ค์ด ์˜ˆ์ƒํ•˜๋Š”๊ฒƒ์„ ๊นจ๊ณ , ์ž‘์—…์— ์žˆ์–ด์„œ ์œ ๋จธ์™€ ๋†€๋ผ์›€
03:35
elegance and humanity in your work was really important to us.
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์šฐ์•„ํ•จ๊ณผ ํœด๋จธ๋‹ˆํ‹ฐ๋ฅผ ์‚ฌ์šฉํ•˜๋Š”๊ฒƒ์€ ์šฐ๋ฆฌ์—๊ฒŒ ์ •๋ง ์ค‘์š”ํ–ˆ์Šต๋‹ˆ๋‹ค.
03:40
It was a very high, it was a very impersonal time in design
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๋””์ž์ธ์— ์žˆ์–ด ๋งค์šฐ ์ธ๊ฐ„์ ์ด์ง€ ๋ชปํ•œ ์‹œ๋Œ€์—
03:45
and we wanted to say, the content is what's important,
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์šฐ๋ฆฌ๊ฐ€ ์ด์•ผ๊ธฐํ•˜๊ณ  ์‹ถ์—ˆ๋˜๊ฒƒ์€, ํŒจํ‚ค์ง€๋‚˜ ํฌ์žฅ๋ณด๋‹ค
03:49
not the package, not the wrapping.
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์ค‘์š”ํ•œ๊ฒƒ์€ ์ฝ˜ํ…์ธ ๋ผ๋Š” ๊ฒƒ์ด์—ˆ์Šต๋‹ˆ๋‹ค.
03:51
You really have to be journalists, you have to be inventors,
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์ •๋ง๋กœ ์ €๋„๋ฆฌ์ŠคํŠธ์—ฌ์•ผ ํ•˜๋ฉฐ, ๋ฐœ๋ช…๊ฐ€๊ฐ€ ๋˜์–ด์•ผํ•ฉ๋‹ˆ๋‹ค.
03:54
you have to use your imagination more importantly than anything.
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๋ฌด์—‡๋ณด๋‹ค๋„ ์ค‘์š”ํ•œ ๊ฒƒ์€ ๋‹น์‹ ์˜ ์ƒ์ƒ๋ ฅ์˜ ์‚ฌ์šฉํ•  ์ˆ˜ ์žˆ์–ด์•ผ ํ•ฉ๋‹ˆ๋‹ค.
03:58
So, the good news is that I have a dog
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๊ทธ๋ž˜์„œ,, ์ข‹์€ ์†Œ์‹์€ ์ œ๊ฐ€ ๊ฐœ๋ฅผ ๊ธฐ๋ฅธ๋‹ค๋Š” ๊ฒƒ์ด์ฃ .
04:03
and, though I don't know if I believe in luck --
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์ œ๊ฐ€ ํ–‰์šด์„ ๋ฏฟ๋Š”์ง€๋Š” ๋ชจ๋ฅด์ง€๋งŒ์š”,
04:05
I don't know what I believe in, it's a very complicated question,
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์ œ๊ฐ€ ๋ฌด์—‡์„ ๋ฏฟ๋Š”์ง€๋Š” ๋ชจ๋ฅด์ง€๋งŒ์š”,, ์ด๊ฑด ๋งค์šฐ ๋ณต์žกํ•œ ์งˆ๋ฌธ์ด์ฃ  --
04:07
but I do know that before I go away, I crank his tail seven times.
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์ „ ์—ฌํ–‰๊ฐ€๊ธฐ์ „์— ๊ทธ ๊ฐœ์˜ ๊ผฌ๋ฆฌ๋ฅผ 7๋ฒˆ ๋Œ๋ฆฝ๋‹ˆ๋‹ค.
04:11
So, whenever he sees a suitcase in the house,
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ํ•ญ์ƒ ๋ˆ„๊ตฐ๊ฐ€ ๋– ๋‚ ๋•Œ๋Š”
04:13
because everybody's always, you know, leaving,
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๋ชจ๋‘๊ฐ€ ๊ฐœ์˜ ๊ผฌ๋ฆฌ๋ฅผ ๋Œ๋ฆฝ๋‹ˆ๋‹ค.
04:16
they're always cranking this wonderful dog's tail,
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๊ทธ๋ž˜์„œ ๊ทธ ๊ฐœ๋Š” ์ˆ˜ํŠธ์ผ€์ด์Šค๋ฅผ ๋ณผ ๋•Œ๋งˆ๋‹ค
04:18
and he runs to the other room.
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๋‹ค๋ฅธ ๋ฐฉ์œผ๋กœ ๋‹ฌ๋ ค๊ฐ‘๋‹ˆ๋‹ค.
04:20
But I am able to make the transition from working for children and --
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์ „ ์–ด๋ฆฐ์ด๋ฅผ ์œ„ํ•œ ์ฑ…๋„ ์„ฑ์ธ์„ ์œ„ํ•œ ์ฑ…๋„
04:25
from working for adults to children, and back and forth,
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์–ด๋Š์ชฝ์ด๋ผ๋„ ์“ธ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
04:28
because, you know, I can say that I'm immature,
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์™œ๋ƒํ•˜๋ฉด ์ „ ๋ฏธ์„ฑ์ˆ™ํ•˜๊ธฐ ๋•Œ๋ฌธ์ด์ฃ ,
04:30
and in a way, that's true.
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์–ด๋–ค๋ฉด์—์„œ ๊ทธ๊ฒƒ์€ ์‚ฌ์‹ค์ž…๋‹ˆ๋‹ค.
04:33
I don't really -- I mean, I could tell you that I didn't understand,
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์ „ ์ดํ•ดํ•˜์ง€ ๋ชปํ•ฉ๋‹ˆ๋‹ค.
04:38
I'm not proud of it, but I didn't understand
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์ž๋ž‘์Šค๋Ÿฝ์ง€๋Š” ์•Š์ง€๋งŒ
04:40
let's say 95 percent of the talks at this conference.
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์ด ์ปจํผ๋Ÿฐ์Šค์—์„œ ๋“ค์€ ๊ฐ•์—ฐ์ค‘ 95ํผ์„ผํŠธ๋Š” ์ดํ•ดํ•˜์ง€ ๋ชปํ–ˆ๋‹ต๋‹ˆ๋‹ค.
04:43
But I have been taking beautiful notes of drawings
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๊ทธ๋Ÿฌ๋‚˜ ์ „ ์•„๋ฆ„๋‹ค์šด ๊ทธ๋ฆผ๋“ค์„ ๊ทธ๋ ค์˜ค๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
04:45
and I have a gorgeous onion from Murray Gell-Mann's talk.
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๋จธ๋ž˜์ด ๊ฒ”๋งจ์˜ ์ด์•ผ๊ธฐ๋กœ๋ถ€ํ„ฐ์˜ ๋ฉ‹์ง„ ์–‘ํŒŒ๋ฅผ ๊ทธ๋ฆด์ˆ˜๋„์žˆ๊ณ .
04:48
And I have a beautiful page of doodles from Jonathan Woodham's talk.
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์กฐ๋‚˜๋‹จ ์šฐ๋“œํ–„์˜ ์ด์•ผ๊ธฐ๋กœ๋ถ€ํ„ฐ ์•„๋ฆ„๋‹ค์šด ๊ทธ๋ฆผ ํ•œ์žฅ์„ ๊ทธ๋ ธ์Šต๋‹ˆ๋‹ค.
04:52
So, good things come out of, you know, incomprehension --
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์ดํ•ด๋ ฅ์˜ ๋ถ€์กฑ์œผ๋กœ๋ถ€ํ„ฐ๋„ ์ข‹์€๊ฒƒ๋“ค์ด ๋‚˜์˜ค๋Š” ๊ฒƒ์ด์ฃ .
04:55
(Laughter)
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(์›ƒ์Œ)
04:57
-- which I will do a painting of, and then it will end up in my work.
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๊ทธ๋ ค ๋†“์•˜๋˜ ๊ฒƒ๋“ค์€ ๋‚˜์ค‘์— ์ €์˜ ์ž‘ํ’ˆ์ด ๋ฉ๋‹ˆ๋‹ค
05:00
So, I'm open to the possibilities of not knowing
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๊ทธ๋Ÿฌ๋ฏ€๋กœ, ์ €๋Š” ๋ฌด์ง€์˜ ๊ฐ€๋Šฅ์„ฑ์„ ๋ฐ›์•„๋“ค์ด๊ณ ,
05:04
and finding out something new.
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์ƒˆ๋กœ์šด ๊ฒƒ์„ ์ฐพ์œผ๋ คํ•ฉ๋‹ˆ๋‹ค.
05:06
So, in writing for children, it seems simple, and it is.
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์–ด๋ฆฐ์ด๋“ค์„ ์œ„ํ•ด ๊ธ€์“ฐ๋Š” ๊ฒƒ์€ ๊ฐ„๋‹จํ•œ๋“ฏ ํ•ฉ๋‹ˆ๋‹ค. ๊ฐ„๋‹จํ•˜์ฃ .
05:11
You have to condense a story into 32 pages, usually.
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๋ณดํ†ต,32ํŽ˜์ด์ง€๋กœ ์ด์•ผ๊ธฐ๋ฅผ ์••์ถ•์‹œ์ผœ์•ผ ํ•ฉ๋‹ˆ๋‹ค.
05:15
And what you have to do is, you really have to edit down to what you want to say.
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์ค‘์š”ํ•œ๊ฒƒ์€,๋งํ•˜๊ณ ์žํ•˜๋Š” ๋‚ด์šฉ๋งŒ์œผ๋กœ ํŽธ์ง‘ํ•˜๋Š”๊ฒƒ์ž…๋‹ˆ๋‹ค.
05:18
And hopefully, you're not talking down to kids
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์•„์ด๋“ค์„ ๋ฌด์‹œํ•˜๋Š” ๋งํˆฌ๋กœ ์–˜๊ธฐํ•˜์ง€ ๋ง๊ณ ,
05:21
and you're not talking in such a way that you,
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ํ•œ๋ฒˆ ์ฝ์œผ๋ฉด ๋‹ค์‹œ ์ฝ๋Š”๊ฒƒ์€ ๊ฒฌ๋”œ ์ˆ˜ ์—†๋Š”
05:23
you know, couldn't stand reading it after one time.
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์‹์€ ์•ˆ๋ฉ๋‹ˆ๋‹ค.
05:26
So, I hopefully am writing, you know,
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์•„๋งˆ๋„ ์ œ๊ฐ€ ์“ฐ๋Š” ์ฑ…์€
05:28
books that are good for children and for adults.
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์–ด๋ฆฐ์ด๋“ค๊ณผ ์–ด๋ฅธ๋“ค ๋ชจ๋‘๋ฅผ ์œ„ํ•œ ์ฑ…์ž…๋‹ˆ๋‹ค.
05:30
But the painting reflects --
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๊ทธ๋ž˜๋„ ๊ทธ๋ฆผ์€ ์–ด๋ฅธ์„ ์œ„ํ•œ ๊ฒƒ๊ณผ ์•„์ด๋“ค์„ ์œ„ํ•œ ๊ฒƒ์ด
05:32
I don't think differently for children than I do for adults.
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๋‹ค๋ฅด๋‹ค๊ณ  ์ƒ๊ฐ์ง€ ์•Š์Šต๋‹ˆ๋‹ค.
05:34
I try to use the same kind of imagination, the same kind of whimsy,
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์ „ ๊ฐ™์€ ์ข…๋ฅ˜์˜ ์ƒ์ƒ, ๊ฐ™์€ ์ข…๋ฅ˜์˜ ๊ธฐ๋ฐœํ•จ,
05:37
the same kind of love of language.
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๊ฐ™์€ ์ข…๋ฅ˜์˜ ์–ธ์–ด์— ๊ด€ํ•œ ์• ์ •์„ ์‚ฌ์šฉํ•ฉ๋‹ˆ๋‹ค.
05:40
So, you know, and I have lots of wonderful-looking friends.
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์ „ ๋ฉ‹์ง€๊ฒŒ ๋ณด์ด๋Š” ๋งŽ์€ ์นœ๊ตฌ๋“ค์ด ์žˆ์Šต๋‹ˆ๋‹ค.
05:44
This is Andrew Gatz, and he walked in through the door and I said,
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์ด ์‚ฌ๋žŒ์€ ์•ค๋“œ๋ฅ˜ ๊ฐœ์ธ  ์ด๊ณ , ๊ทธ ๋ฌธ์„ ์ง€๋‚˜ ๊ฑธ์—ˆ๊ณ ,
05:46
"You! Sit down there." You know, I take lots of photos.
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์ „ "๊ฑฐ๊ธฐ ์•‰์œผ์„ธ์š”" ๋ผ๊ณ  ๋งํ–ˆ๊ณ , ๋งŽ์€ ์‚ฌ์ง„์„ ์ฐ์—ˆ์Šต๋‹ˆ๋‹ค.,
05:49
And the Bertoia chair in the background is my favorite chair.
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๋ฐฐ๊ฒฝ์˜ ๋ฒ„ํ† ์ด์•„ ์˜์ž๋Š” ์ œ๊ฐ€ ๊ฐ€์žฅ ์ข‹์•„ํ•˜๋Š” ์˜์ž์ž…๋‹ˆ๋‹ค.
05:52
So, I get to put in all of the things that I love.
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์ €๋Š” ์ œ๊ฐ€ ์‚ฌ๋ž‘ํ•˜๋Š” ๋ชจ๋“  ๊ฒƒ๋“ค์„ ์ง‘์–ด๋„ฃ์—ˆ์Šต๋‹ˆ๋‹ค,
05:55
Hopefully, a dialog between adults and children will happen on many different levels,
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์–ด๋ฅธ๊ณผ ์–ด๋ฆฐ์ด ์‚ฌ์ด์˜ ๋Œ€ํ™”๋Š” ์—ฌ๋Ÿฌ ๋‹ค๋ฅธ ์ˆ˜์ค€์—์„œ ์ด๋ฃจ์–ด์งˆ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
05:59
and hopefully different kinds of humor will evolve.
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๊ทธ๋ฆฌ๊ณ  ๋‹ค๋ฅธ ์ข…๋ฅ˜์˜ ์œ ๋จธ๊ฐ€ ๋ฐœ์ƒ๋  ๊ฒƒ์ž…๋‹ˆ๋‹ค.
06:03
And the books are really journals of my life.
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๊ทธ๋ฆฌ๊ณ  ์ฑ…๋“ค์€ ์ •๋ง๋กœ ์ œ ์ƒํ™œ์˜ ์ผ๊ธฐ์ž…๋‹ˆ๋‹ค.
06:05
I never -- I don't like plots.
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์ „ ๊ฒฐ์ฝ”, -- ์ „ ๊ณ„ํš์„ ์ข‹์•„ํ•˜์ง€ ์•Š์Šต๋‹ˆ๋‹ค.
06:07
I don't know what a plot means.
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์ €๋Š” ๊ณ„ํš์ด๋ž€๊ฒƒ์ด ์˜๋ฏธํ•˜๋Š”๊ฒƒ์„ ๋ชจ๋ฆ…๋‹ˆ๋‹ค.
06:09
I can't stand the idea of anything that starts in the beginning,
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์ „ ์ฒ˜์Œ๋ถ€ํ„ฐ ์‹œ์ž‘ํ•˜๋Š” ์–ด๋–ค ์•„์ด๋””์–ด๋Š” ๊ฒฌ๋”œ ์ˆ˜ ์—†์Šต๋‹ˆ๋‹ค.
06:12
you know, beginning, middle and end. It really scares me,
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์ฒ˜์Œ, ์ค‘๊ฐ„ ,๋, ๊ทธ๋Ÿฐ๊ฒƒ์€ ์ €๋ฅผ ๊ฒ๋‚˜๊ฒŒ ํ•ฉ๋‹ˆ๋‹ค.
06:14
because my life is too random and too confused,
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์™œ๋ƒํ•˜๋ฉด ์ €์˜ ์ธ์ƒ์€ ๋„ˆ๋ฌด ๋ฌด์ž‘์œ„์ ์ด๊ณ  ํ˜ผ๋ž€์Šค๋Ÿฝ๊ธฐ ๋•Œ๋ฌธ์ด์ฃ .
06:17
and I enjoy it that way.
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๊ทธ๋ฆฌ๊ณ  ์ €๋Š” ๊ทธ๋Ÿฐ ๋ฐฉ์‹์œผ๋กœ ์ธ์ƒ์„ ์ฆ๊น๋‹ˆ๋‹ค.
06:18
But anyway, so we were in Venice,
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์–ด์จŒ๋“ , ๊ทธ๋ž˜์„œ ์ €๋Š”, ์šฐ๋ฆฌ๋Š” ๋ฒ ๋‹ˆ์Šค์— ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค.
06:23
and this is our room. And I had this dream
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์ด๊ฒƒ์€ ์šฐ๋ฆฌ ๋ฐฉ์ž…๋‹ˆ๋‹ค, ๊ทธ๋ฆฌ๊ณ  ์ „ ์ด๋Ÿฐ ๊ฟˆ์„ ๊พธ์—ˆ๋Š”๋ฐ์š”,
06:25
that I was wearing this fantastic green gown,
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์ „ ์ด ๋ฉ‹์ง„ ๋…น์ƒ‰ ๊ฐ€์šด์„ ์ž…๊ณ ,
06:27
and I was looking out the window,
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์ฐฝ๋ฌธ๋ฐ–์„ ๋‚ด๋‹ค๋ณด๊ณ  ์žˆ์—ˆ์ฃ ,
06:29
and it was really a beautiful thing.
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์ •๋ง ์•„๋ฆ„๋‹ค์šด ์žฅ๋ฉด์ด์–ด์„œ,
06:31
And so, I was able to put that into this story, which is an alphabet,
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์ „ ์ด ์•ŒํŒŒ๋ฒณ ์ด์•ผ๊ธฐ์— ๋„ฃ์„ ์ˆ˜ ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค,
06:34
and hopefully go on to something else.
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๋‹ค๋ฅธ๊ฒƒ๋“ค์—๋„ ๊ณ„์† ์“ธ ์ˆ˜ ์žˆ์„๊ฑฐ๋ผ ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค.
06:37
The letter C had other things in it.
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๊ธ€์ž C ํŽ˜์ด์ง€์—๋Š” ๋‹ค๋ฅธ๊ฒƒ๋“ค์ด ์จ์ ธ ์žˆ์Šต๋‹ˆ๋‹ค.
06:39
I was fortunate also, to meet the man who's sitting on the bed,
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๋˜ํ•œ ์šด์ด ์ข‹๊ฒŒ๋„ ๊ทธ ์นจ๋Œ€์— ์•‰์•„์žˆ๋Š” ๋‚จ์ž๋ฅผ ๋งŒ๋‚ฌ์Šต๋‹ˆ๋‹ค.
06:42
though I gave him hair over here and he doesn't have hair.
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๊ทธ์—๊ฒŒ ๋จธ๋ฆฌ์นด๋ฝ์„ ๊ทธ๋ ค ์ฃผ์—ˆ๋Š”๋ฐ, ๊ทธ๋Š” ๋จธ๋ฆฌ์นด๋ฝ์ด ์—†์Šต๋‹ˆ๋‹ค,
06:45
Well, he has some hair but -- well, he used to have hair.
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๊ทธ๋Š” ๋จธ๋ฆฌ์นด๋ฝ์ด ์ข€ ์žˆ๊ธฐ ์žˆ์ฃ , ์˜ˆ์ „์—” ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค.
06:48
And with him, I was able to do a project that was really fantastic.
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๊ทธ์™€ ํ•จ๊ป˜ ์ „ ์ •๋ง ํ™˜์ƒ์ ์ธ ํ”„๋กœ์ ํŠธ๋ฅผ ํ•  ์ˆ˜ ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค.
06:53
I work for the New Yorker, and I do covers, and 9/11 happened
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์ „ ๋‰ด์š•์ปค์ง€์˜ ํ‘œ์ง€๋ฅผ ๋‹ด๋‹นํ•˜๊ณ  ์žˆ์—ˆ๋Š”๋ฐ, 9/11 ์ด ์ผ์–ด๋‚ฌ์Šต๋‹ˆ๋‹ค.
06:58
and it was, you know, a complete and utter end of the world as we knew it.
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๊ทธ๊ฒƒ์€ ์™„์ „ํ•œ ์šฐ๋ฆฌ๊ฐ€ ์•Œ๋˜ ์„ธ๊ณ„์˜ ์ข…๋ง์ƒํ™ฉ์ด์—ˆ์Šต๋‹ˆ๋‹ค.
07:03
And Rick and I were on our way to a party in the Bronx,
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๋ฆญ๊ณผ ์ €๋Š” ๋ธŒ๋กฑํฌ์Šค์—์„œ ์žˆ๋˜ ํŒŒํ‹ฐ์— ๊ฐ€๊ณ  ์žˆ๋Š” ์ค‘์ด์—ˆ์Šต๋‹ˆ๋‹ค.
07:07
and somebody said Bronxistan,
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์–ด๋–ค ์‚ฌ๋žŒ์ด '๋ธŒ๋กฑํ‚ค์Šคํƒ„'์ด๋ผ ๋งํ–ˆ๊ณ ,
07:09
and somebody said Ferreristan,
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์–ด๋–ค ์‚ฌ๋žŒ๋“ค์€ 'ํŒŒ๋ ˆ๋ฆฌ์Šคํƒ„'์ด๋ผ๊ณ  ๋งํ–ˆ์Šต๋‹ˆ๋‹ค.
07:10
and we came up with this New Yorker cover,
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๊ทธ๋กœ๋ถ€ํ„ฐ ์šฐ๋ฆฌ๋Š” ์ด ๋‰ด์š”์ปค ์ปค๋ฒ„ ์•„์ด๋””์–ด๊ฐ€ ๋– ์˜ฌ๋ž์ฃ .
07:13
which we were able to -- we didn't know what we were doing.
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๊ทธ ๋•Œ๋Š” ์šฐ๋ฆฌ๊ฐ€ ๋ฌด์—‡์„ ํ•˜๊ณ  ์žˆ๋Š”์ง€ ์ž˜ ๋ชฐ๋ž์ฃ ,
07:15
We weren't trying to be funny, we weren't trying to be --
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์šฐ๋ฆฌ๊ฐ€ ์žฅ๋‚œ์น  ์˜๋„๋กœ ํ•˜์ง€๋Š” ์•Š์•˜์Šต๋‹ˆ๋‹ค,
07:18
well, we were trying to be funny actually, that's not true.
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์‚ฌ์‹ค์€ ์žฌ๋ฏธ์žˆ๊ฒŒ ํ•˜๋ ค๊ณ  ํ–ˆ์—ˆ์Šต๋‹ˆ๋‹ค,
07:20
We hoped we'd be funny, but we didn't know it would be a cover,
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์žฌ๋ฐŒ๊ธฐ๋ฅผ ๋ฐ”๋žฌ์ง€๋งŒ, ์šฐ๋ฆฌ๋Š” ๊ทธ๊ฒƒ์ด ์ปค๋ฒ„๊ฐ€ ๋  ์ค„์€ ๋ชฐ๋ž์Šต๋‹ˆ๋‹ค.
07:23
and we didn't know that that image, at the moment that it happened,
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๊ทธ ๋‹น์‹œ์—๋Š” ์ € ์ด๋ฏธ์ง€๊ฐ€ ๋งŽ์€ ์‚ฌ๋žŒ๋“ค์—๊ฒŒ
07:27
would be something that would be so wonderful for a lot of people.
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๊ต‰์žฅํ•œ ๋ฐ˜์‘์ด ์ผ์–ด๋‚ ์ค„ ๋ชฐ๋ž์Šต๋‹ˆ๋‹ค.
07:31
And it really became the -- I don't know, you know,
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๊ทธ๋ฆฌ๊ณ  ๊ทธ๊ฒƒ์€ ๊ทธ๋ ‡๊ฒŒ ๋˜์—ˆ์ฃ  -(์—ฌ๊ธฐ ์จ์žˆ๋Š” ๋‚ด์šฉ์„ ๋ณด๋ฉด)
07:33
it was one of those moments people started laughing at what was going on.
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๋งŽ์€ ์‚ฌ๋žŒ๋“ค์ด ์›ƒ๊ธฐ ์‹œ์ž‘ํ•˜๋Š” ์ˆœ๊ฐ„๋“ค ์ค‘ ํ•˜๋‚˜์˜€์Šต๋‹ˆ๋‹ค.
07:36
And from, you know, Fattushis, to Taxistan to, you know,
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'ํŒจํˆฌ์‹œ' ๋ถ€ํ„ฐ 'ํƒ์‹œ์Šคํƒ„' ๊นŒ์ง€์š”, 'ํŒจ์‰ฌํˆฐํฌ์Šค', '๋ณดํ†ก์‹œ์•„', ํŒŒ์‰ฌ๋ฏธ๋‚˜, '
07:41
for the Fashtoonks, Botoxia, Pashmina, Khlintunisia, you know,
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ํฌ๋ฆฐํˆฌ๋„ค์‹œ์•„, ๋“ฑ ๊ฐ€๊ณต์˜ ์ธ์ข…์˜ ์ด๋ฆ„์„ ๋ถ™์—ฌ๊ฐ€๋ฉฐ,
07:45
we were able to take the city
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๊ทธ ๋„์‹œ์—์„œ ์™„์ „ํžˆ ์ด๊ตญ์ ์ธ ๊ฒƒ์„
07:47
and make fun of this completely foreign, who are -- what's going on over here?
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์กฐ์†Œํ•˜์˜€์Šต๋‹ˆ๋‹ค, ์—ฌ๊ธฐ ์–ด๋–ค์ผ์ด ์ผ์–ด๋‚˜๊ณ  ์žˆ๋‚˜์š”?
07:51
Who are these people? What are these tribes?
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์ด ์‚ฌ๋žŒ๋“ค์€ ๋ˆ„๊ตด๊นŒ์š”? ์ด ์ข…์กฑ๋“ค์€ ๋ฌด์—‡์ธ๊ฐ€์š”?
07:54
And David Remnick, who was really wonderful about it,
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์ด ์ œ์•ˆ์„ ๋งˆ์Œ์— ๋“ค์–ดํ–ˆ๋˜ ๋ฐ์ด๋น„๋“œ ๋ ˆ๋ฏน์€
07:57
had one problem. He didn't like Al Zheimers,
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ํ•œ๊ฐ€์ง€ ๋ฌธ์ œ๋ฅผ ์ œ๊ธฐํ–ˆ์Šต๋‹ˆ๋‹ค. ๊ทธ๋Š” '์•Œ ์ฆˆํ•˜์ด๋จธ'๋ฅผ ์‹ซ์–ดํ–ˆ์Šต๋‹ˆ๋‹ค,
08:02
because he thought it would insult people with Alzheimer's.
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์™œ๋ƒํ•˜๋ฉด ๊ทธ๊ฒƒ์ด ์•Œ์ฏ”ํ•˜์ด๋จธ๋ฅผ ์•“๊ณ  ์žˆ๋Š” ์‚ฌ๋žŒ๋“ค์„ ๋†€๋ฆฐ๋‹ค๊ณ  ์ƒ๊ฐํ–ˆ๊ธฐ ๋•Œ๋ฌธ์ด์ฃ .
08:05
But you know, we said, "David, who's going to know?
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๊ทธ๋Ÿฌ๋‚˜, ์šฐ๋ฆฐ, ''๋ฐ์ด๋น—, ๋ˆ„๊ฐ€ ์•Œ๊ฒ ์–ด์š”" ๋ผ๊ณ  ํ–ˆ์ฃ ,
08:07
They're not."
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๊ทธ๋“ค์€ ๋ชจ๋ฅด์ฃ ,,
08:09
(Laughter)
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(์›ƒ์Œ)
08:11
So it stayed in, and it was, and, you know, it was a good thing.
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๊ทธ๋ž˜์„œ ๊ฒฐ๊ตญ ๊ทธ๊ฒƒ์„ ๊ทธ๋Œ€๋กœ ๋‘์—ˆ์ฃ ,, ๊ดœ์ฐฎ์•˜์Šต๋‹ˆ๋‹ค.
08:19
You know, in the course of my life, I never know what's going to happen
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์ œ ์ธ์ƒ์˜ ๊ณผ์ •์— ์žˆ์–ด์„œ, ๋ฌด์—‡์ด ์ผ์–ด๋‚ ์ง€ ์ „ํ˜€ ์•Œ ์ง€ ๋ชปํ•ฉ๋‹ˆ๋‹ค.
08:22
and that's kind of the beauty part.
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๊ทธ๊ฒƒ์ด ์ข‹์€๊ฒƒ ๊ฐ™์Šต๋‹ˆ๋‹ค.
08:24
And we were on Cape Cod, a place, obviously, of great inspiration,
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์šฐ๋ฆฌ๋Š” ์ผ€์ดํ”„ ์ฝ”๋“œ์— ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค, ์ตœ๊ณ ์˜ ์˜๊ฐ์„ ์ฃผ๋Š” ์žฅ์†Œ์ฃ ,
08:28
and I picked up this book, "The Elements of Style," at a yard sale.
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์•ผ๋“œ ์„ธ์ผ์—์„œ ์ „ ์ด ์ฑ…์„ ์ฐพ์•˜์Šต๋‹ˆ๋‹ค, " ์Šคํƒ€์ผ์˜ ์š”์†Œ(์˜์–ด๋ฌธ์žฅ์ž‘๋ฒ•)'' ์ฑ…์ž…๋‹ˆ๋‹ค.
08:32
And I didn't -- and I'd never used it in school,
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ํ•™์ƒ๋•Œ์—๋Š” ์‚ฌ์šฉํ•œ์ ์ด ์ ˆ๋Œ€ ์—†์—ˆ์Šต๋‹ˆ๋‹ค,
08:34
because I was too busy writing poems, and flunking out,
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์™œ๋ƒํ•˜๋ฉด ์ „, ์‹œ๋ฅผ ์“ฐ๊ณ  ๋‚™์ œ๋ฅผ ํ•˜๊ณ ,
08:37
and I don't know what, sitting in cafes.
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์นดํŽ˜์— ์•‰์•„ ์žˆ๋Š๋ผ ๋„ˆ๋ฌด ๋ฐ”๋นด๊ฑฐ๋“ ์š”.
08:39
But I picked it up and I started reading it and I thought, this book is amazing.
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๊ทธ๋Ÿฌ๋‚˜ ์ฝ๊ธฐ ์‹œ์ž‘ํ•ด๋ณด๋‹ˆ, '์ด์ฑ… ๋Œ€๋‹จํ•˜๋‹ค' ๋ผ๊ณ  ์ƒ๊ฐ๋ผ์กŒ์Šต๋‹ˆ๋‹ค.
08:42
I said, people should know about this book.
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์‚ฌ๋žŒ๋“ค์ด ์ด ์ฑ…์— ๋Œ€ํ•ด ์•Œ์•„์•ผ ํ•œ๋‹ค๋Š” ๋ง์ด์—์š”,
08:45
(Laughter)
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(์›ƒ์Œ)
08:48
So I decided it needed a few -- it needed a lift, it needed a few illustrations.
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๊ทธ๋ž˜์„œ ์ „ ๊ทธ ์ฑ…์ด ๋ช‡ ๊ฐœ์˜ ์‚ฝํ™”๊ฐ€ ํ•„์š”ํ•˜๋‹ค๊ณ  ์ƒ๊ฐํ–ˆ์Šต๋‹ˆ๋‹ค.
08:51
And basically, I called the, you know, I convinced the White Estate,
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๊ทธ๋ž˜์„œ, ์ „ํ™”๋ฅผ ๊ฑธ์–ด ์™€์ดํŠธ ์—์Šคํ…Œ์ž‡์„ ์„ค๋“ํ–ˆ์Šต๋‹ˆ๋‹ค.
08:55
and what an intersection of like, you know,
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ํด๋ž€๋“œ๊ณ„ ์œ ๋Œ€์ธ, ์ฃผ๋ฅ˜ ์•ต๊ธ€๋กœ์„น์Šจ๊ณ„ ๋ฐฑ์ธ๊ฐ€์กฑ์ถœ์‹ ๋“ฑ์ด
08:57
Polish Jew, you know, main WASP family. Here I am, saying,
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์„ž์ธ ์ œ๊ฐ€ ์ด์ฑ…์— ๋ญ”๊ฐ€๋ฅผ
09:03
I'd like to do something to this book.
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ํ•˜๊ณ  ์‹ถ๋‹ค๊ณ  ๋งํ–ˆ์Šต๋‹ˆ๋‹ค.
09:05
And they said yes, and they left me completely alone,
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๊ทธ๋“ค์€ ์Šน๋‚™ํ–ˆ๊ณ , ์™„์ „ํžˆ ์ €์—๊ฒŒ ๋งก๊ฒผ์Šต๋‹ˆ๋‹ค.
09:07
which was a gorgeous, wonderful thing.
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๊ทธ๊ฑด ๊ต‰์žฅํ•˜๊ณ  ๋ฉ‹์ง„ ์ผ์ด์—ˆ์Šต๋‹ˆ๋‹ค.
09:10
And I took the examples that they gave,
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์ „ ๊ทธ๋“ค์ด ์ค€ ๊ฒฌ๋ณธ๋“ค์„ ๋ฐ›์•„์™€
09:14
and just did 56 paintings, basically.
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56๊ฐœ์˜ ๊ทธ๋ฆผ๋“ค ๊ทธ๋ ธ์Šต๋‹ˆ๋‹ค.
09:16
So, this is, I don't know if you can read this.
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์ด๊ฒƒ์ธ๋ฐ์š”, ์ด๊ฒƒ์„ ์ฝ์„์ˆ˜ ์žˆ์„์ง€ ๋ชจ๋ฅด๊ฒ ๋„ค์š”.
09:18
"Well, Susan, this is a fine mess you are in."
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"์ˆ˜์ž”, ๋‹น์‹ ์€ ํ˜ผ๋ž€์†์— ์žˆ๊ตฐ์š”"
09:20
And when you're dealing with grammar,
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์—ฌ๋Ÿฌ๋ถ„์ด ๋ฌธ๋ฒ•์„ ๋…ผํ•  ๋•Œ๋Š”,
09:22
which is, you know, incredibly dry,
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๋Œ€๋‹จํžˆ ๊ฑด์กฐํ•ฉ๋‹ˆ๋‹ค๋งŒ,
09:24
E.B. White wrote such wonderful, whimsical -- and actually, Strunk --
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E.B. ํ™”์ดํŠธ๋Š”ํ›Œ๋ฅญํ•˜๊ณ  ๊ธฐ๋ฐœํ•˜๊ฒŒ ์ผ์Šต๋‹ˆ๋‹ค, ๊ทธ๋ฆฌ๊ณ , ์ŠคํŠธ๋Ÿฐํฌ์”จ์š”..
09:28
and then you come to the rules and, you know,
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๊ทธ๋‹ค์Œ์€ ๋ฌธ๋ฒ•๊ทœ์น™ ํŽ˜์ด์ง€์ž…๋‹ˆ๋‹ค.
09:30
there are lots of grammar things. "Do you mind me asking a question?
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๋ฌธ๋ฒ•์— ๊ด€ํ•œ ๊ฒƒ๋“ค์ด ๋งŽ์ด ์žˆ์Šต๋‹ˆ๋‹ค. me ๋ฅผ my๋กœ ๋ฐ”๊พธ๋Š” ๋‰˜์•™์Šค๋„ ์žˆ์Šต๋‹ˆ๋‹ค.
09:33
Do you mind my asking a question?"
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Do you mind my asking a question?"
09:36
"Would, could, should, or would, should, could."
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"Would, could , should, or Would, should, could"
09:38
And "would" is Coco Chanel's lover, "should" is Edith Sitwell,
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๊ทธ๋ฆฌ๊ณ , Would๋Š” ์ฝ”์ฝ” ์ƒค๋„ฌ์˜ ์—ฐ์ธ์ด์ฃ , should๋Š” ์—๋””์Šค ์‹ฏ์›ฐ์ด๊ณ ,
09:42
and "could" is an August Sander subject.
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could๋Š” ์–ด๊ฑฐ์ŠคํŠธ ์ƒŒ๋”์˜ ์ฃผ์ œ์˜€์ฃ .
09:45
And, "He noticed a large stain in the center of the rug."
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๊ทธ๋ฆฌ๊ณ , " ๊ทธ๋Š” ๊น”๊ฐœ์˜ ์ค‘์•™์— ์žˆ๋Š” ์–ผ๋ฃฉ์„ ์•Œ์•„์ฑ˜์Šต๋‹ˆ๋‹ค.
09:47
(Laughter)
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(์›ƒ์Œ)
09:49
So, there's a kind of British understatement, murder-mystery theme
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์˜๊ตญ์‹์˜ ์–ต์ œ๋œ ํ‘œํ˜„์œผ๋กœ๋œ ์‚ด์ธ ์ถ”๋ฆฌ๋ฌผ ๊ฐ™์€ ์ฃผ์ œ์˜ ๊ทธ๋ฆผ์€
09:52
that I really love very much.
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์ œ๊ฐ€ ์•„์ฃผ ์ข‹์•„ํ•˜๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
09:54
And then, "Be obscure clearly! Be wild of tongue in a way we can understand."
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๋ถ„๋ช…ํ•˜๊ฒŒ ์• ๋งคํ•ด๋ผ! ์šฐ๋ฆฌ๊ฐ€ ์ดํ•ดํ• ์ˆ˜ ์žˆ๋„๋ก ๊ฑฐ์นจ์—†์ด ๋งํ•˜๋ผ ."
09:58
E.B. White wrote us a number of rules,
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EB ํ™”์ดํŠธ๊ฐ€ ๋งŽ์€ ๊ทœ์น™๋“ค์„ ์จ๋†“์•˜๋Š”๋ฐ์š”,
10:00
which can either paralyze you and make you loathe him
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๋‹น์‹ ์„ ๋ฌด๋ ฅํ•˜๊ฒŒ๋งŒ๋“ค๊ฑฐ๋‚˜ ๋‚จ์€ ์ธ์ƒ๋™์•ˆ ๋‹น์‹ ์ด ๊ทธ๋ฅผ ์‹ซ์–ดํ•˜๊ฒŒํ•˜๊ฑฐ๋‚˜,
10:02
for the rest of time, or you can ignore them, which I do,
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์•„๋‹ˆ๋ฉด ์—ฌ๋Ÿฌ๋ถ„์€ ๊ทธ๊ฒƒ๋“ค์„ ๊ทธ๋ƒฅ ๋ฌด์‹œํ•  ์ˆ˜๋„ ์žˆ์Šต๋‹ˆ๋‹ค. ์ €์ฒ˜๋Ÿผ์š”.
10:07
or you can, I don't know what, you know, eat a sandwich.
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๋˜๋Š” ์—ฌ๋Ÿฌ๋ถ„์€ ์ƒŒ๋“œ์œ„์น˜๋ฅผ ๋จน์„์ˆ˜๋„ ์žˆ์Šต๋‹ˆ๋‹ค.
10:10
So, what I did when I was painting was I started singing,
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์ €๋Š” ๊ทธ๋ฆผ๊ทธ๋ฆฌ๋ฉด์„œ ๋…ธ๋ž˜๋ฅผ ๋ถ€๋ฆ…๋‹ˆ๋‹ค.
10:13
because I really adore singing,
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๋…ธ๋ž˜ํ•˜๋Š”๊ฒƒ์„ ์•„์ฃผ ์ข‹์•„ํ•˜๊ธฐ๋•Œ๋ฌธ์ž…๋‹ˆ๋‹ค.
10:15
and I think that music is the highest form of all art.
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์ „ ์Œ์•…์ด ์˜ˆ์ˆ ์ค‘ ์ตœ๊ณ ์˜ ํ˜•ํƒœ๋ผ๊ณ  ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค.
10:18
So, I commissioned a wonderful composer, Nico Muhly,
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๊ทธ๋ž˜์„œ ์ €๋Š” Nico Muhly๋ผ๋Š” ์œ„๋Œ€ํ•œ ์ž‘๊ณก๊ฐ€์—๊ฒŒ ์˜๋ขฐํ–ˆ๋Š”๋ฐ์š”,
10:21
who wrote nine songs using the text,
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,๊ทธ๋Š” ๋ณธ๋ฌธ ํ…์ŠคํŠธ๋ฅผ ์‚ฌ์šฉํ•ด 9๊ณก์„ ์จ์ฃผ์—ˆ์Šต๋‹ˆ๋‹ค.
10:25
and we performed this fantastic evening of --
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๊ทธ๋ฆฌ๊ณ  ์šฐ๋ฆฌ๋Š” ์ด ํ™˜์ƒ์ ์ธ ์ €๋…์— ๊ณต์—ฐํ–ˆ์Šต๋‹ˆ๋‹ค.
10:29
he wrote music for both amateurs and professionals.
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๊ทธ๋Š” ์•„๋งˆ์ถ”์–ด์™€ ํ”„๋กœ ๋ชจ๋‘๋ฅผ ์œ„ํ•ด ์ž‘๊ณกํ–ˆ์Šต๋‹ˆ๋‹ค.
10:32
I played the clattering teacup and the slinky
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์ €๋Š” ๋‹ฌ๊ฐ€๋‹ฅ๊ฑฐ๋ฆฌ๋Š” ์ฐป์ž”๊ณผ ์Šฌ๋งํ‚ค๋ฅผ ์จ์„œ ์—ฐ์ฃผํ–ˆ์Šต๋‹ˆ๋‹ค.
10:34
in the main reading room of the New York Public Library,
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๋‰ด์š•๊ณต๋ฆฝ๋„์„œ๊ด€์˜ ์ฃผ์—ด๋žŒ์‹ค์—์„œ์˜€๋Š”๋ฐ
10:37
where you're supposed to be very, very quiet,
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๊ทธ๊ณณ์€ ์•„์ฃผ ์•„์ฃผ ์กฐ์šฉํ•ด์•ผ ํ•˜๋Š”๊ณณ์ž…๋‹ˆ๋‹ค.
10:39
and it was a phenomenally wonderful event,
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๊ทธ๊ฒƒ์€ ์šฐ๋ฆฌ๊ฐ€ ๋” ํ•˜๊ณ  ์‹ถ์€
10:41
which we hopefully will do some more.
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๋†€๋ž„๋งŒํ•˜๊ฒŒ ํ›Œ๋ฅญํ•œ ์ด๋ฒคํŠธ์˜€์Šต๋‹ˆ๋‹ค.
10:45
Who knows? The New York TimesSelect, the op-ed page,
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๋ˆ„๊ฐ€ ์••๋‹ˆ๊นŒ? ๋‰ด์š•ํƒ€์ž„์ฆˆ๊ฐ€ ๋…ผํ‰์—
10:49
asked me to do a column, and they said, you can do whatever you want.
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์ปฌ๋Ÿฝ์„ ์จ๋‹ฌ๋ผ๊ณ  ํ•˜๋ฉด์„œ, ๋‚ด๊ฐ€ ์›ํ•˜๋Š” ๋ญ๋“ ์ง€ ์“ธ ์ˆ˜ ์žˆ๋‹ค๊ณ  ํ–ˆ์Šต๋‹ˆ๋‹ค..
10:52
So, once a month for the last year,
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๊ทธ๋ž˜์„œ, ์ž‘๋…„์—” ํ•œ๋‹ฌ์— ํ•œ๋ฒˆ,
10:53
I've been doing a column called "The Principles of Uncertainty,"
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๋ถˆํ™•์‹ค์„ฑ์˜ ์›๋ฆฌ๋ผ๋Š” ์นผ๋Ÿผ์„ ์จ ์™”๋Š”๋ฐ์š”,
10:57
which, you know, I don't know who Heisenberg is,
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์ „ ํ•˜์ด์  ๋ฒ ๋ฅดํฌ๊ฐ€ ๋ˆ„๊ตฐ์ง€ ๋ชจ๋ฆ…๋‹ˆ๋‹ค.
10:59
but I know I can throw that around now. You know,
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๊ทธ๋Ÿฌ๋‚˜ ์ „ ์ง€๊ธˆ์€ ๊ทธ ,๋‹จ์–ด๋Š” ์•Œ๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
11:01
it's the principles of uncertainty, so, you know.
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๋ถˆํ™•์‹ค์„ฑ์˜ ์›๋ฆฌ์ฃ .
11:04
I'm going to read quickly -- and probably I'm going to edit some,
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๋นจ๋ฆฌ ์ฝ๊ฒ ์Šต๋‹ˆ๋‹ค. -- ์‹œ๊ฐ„์ด ์–ผ๋งˆ ์•ˆ๋‚จ์•˜๊ธฐ๋•Œ๋ฌธ์—
11:07
because I don't have that much time left -- a few of the columns.
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์•„๋งˆ ๋ช‡๊ฐœ์˜ ์ปฌ๋Ÿผ๋“ค์€ ์ƒ๋žตํ• ๊ฒƒ์ž…๋‹ˆ๋‹ค.
11:10
And basically, I was so, you know, it was so amusing,
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์ „ ๋„ˆ๋ฌด ์ฆ๊ฑฐ์› ์Šต๋‹ˆ๋‹ค.
11:13
because I said, "Well, how much space do I have?"
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์ œ๊ฐ€ ์–ผ๋งˆ๋งŒํผ์˜ ์ง€๋ฉด์„ ์“ธ์ˆ˜ ์žˆ๋Š”์ง€ ๋ฌผ์—ˆ๋”๋‹ˆ,
11:14
And they said, "Well, you know, it's the Internet."
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๊ทธ๋“ค์€, ''์ด๊ฒŒ ์ธํ„ฐ๋„ท์ด๋ž€๊ฑธ ์•„์‹œ์ž–์•„์š”'' ๋ผ๊ณ  ํ–ˆ์Šต๋‹ˆ๋‹ค.
11:16
And I said, "Yes, but how much space do I have?"
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์ „'' ๋„ค, ๊ทผ๋ฐ ์ œ๊ฐ€ ์–ผ๋งŒํผ ์“ธ ์ˆ˜ ์žˆ๋ƒ๊ตฌ์š”'' ๊ณ  ํ–ˆ์ฃ ,
11:18
And they said, "It's unlimited, it's unlimited."
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๊ทธ๋“ค์€ ''์ œํ•œ์—†์–ด์š”''๋ผ๊ณ  ํ–ˆ์Šต๋‹ˆ๋‹ค
11:20
OK. So, the first one I was very timid, and I'll begin.
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์ฒ˜์Œ์—, ์ „ ์•„์ฃผ ์†Œ์‹ฌํ–ˆ์Šต๋‹ˆ๋‹ค, ๊ทธ๋ฆฌ๊ณ  ์‹œ์ž‘ํ•ด๋ณด์•˜์ฃ .
11:25
"How can I tell you everything that is in my heart?
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"์–ด๋–ป๊ฒŒ ์ œ๋งˆ์Œ์— ์žˆ๋Š” ๋ชจ๋“ ๊ฒƒ์„ ๋งํ•  ์ˆ˜ ์žˆ์„๊นŒ?
11:27
Impossible to begin. Enough. No. Begin with the hapless dodo."
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์‹œ์ž‘ํ•˜๊ธฐ๋Š” ๋ถˆ๊ฐ€๋Šฅ์ด์•ผ. ์ถฉ๋ถ„ํ•ด. ๋ถˆํ–‰ํ•œ ๋„๋„๋กœ ์‹œ์ž‘ํ•˜์ž"
11:30
And I talk about the dodo, and how the dodo became extinct,
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์ „ ๋„๋„์— ๋Œ€ํ•ด ๊ทธ๋ฆฌ๊ณ  ์–ด๋–ป๊ฒŒ ๋„๋„๊ฐ€ ๋ฉธ์ข…๋˜์—ˆ๋Š”์ง€๊ณ  ๋งํ•˜๊ณ ,
11:34
and then I talk about Spinoza.
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๊ทธ๋‹ค์Œ์€ ์Šคํ”ผ๋…ธ์ž์— ๋Œ€ํ•ด ๋งํ•ฉ๋‹ˆ๋‹ค.
11:36
"As the last dodo was dying, Spinoza was looking for a rational explanation
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''์ตœํ›„์˜ ๋„๋„๊ฐ€ ์ฃฝ์—ˆ์„๋•Œ, ์Šคํ”ผ๋…ธ์ž๋Š” ํ–‰๋ณต์ฃผ์˜์— ๋Œ€ํ•œ
11:40
for everything, called eudaemonia.
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ํ•ฉ๋ฆฌ์  ์„ค๋ช…์„ ์ฐพ๊ณ  ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค
11:42
And then he breathed his last, with loved ones around him,
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๊ทธ๋‹ค์Œ ๊ทธ๋Š” ์‚ฌ๋ž‘ํ•˜๋Š” ์ด๋“ค์— ๋‘˜๋Ÿฌ์Œ“์—ฌ ๋งˆ์ง€๋ง‰ ์ˆจ์„ ์‰ฌ์—ˆ์Šต๋‹ˆ๋‹ค.
11:45
and I know that he had chicken soup also, as his last meal."
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๊ทธ๋ฆฌ๊ณ  ๊ทธ๊ฐ€ ๋งˆ์ง€๋ง‰์œผ๋กœ ๋จน์€๊ฒƒ์€ ์น˜ํ‚จ์ˆ˜ํ”„์˜€์Šต๋‹ˆ๋‹ค.
11:47
I happen to know it for a fact.
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๊ทธ๊ฒƒ์€ ์ •๋ง์ž…๋‹ˆ๋‹ค.
11:49
And then he died, and there was no more Spinoza. Extinct.
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๊ทธ๋ฆฌ๊ณ  ๊ทธ๋Š” ์ฃฝ์—ˆ๊ณ , ๋”์ด์ƒ์˜ ์Šคํ”ผ๋…ธ์ž๋Š” ์—†์—ˆ์Šต๋‹ˆ๋‹ค. ๋ฉธ์ข…์ด์ฃ .
11:53
And then, we don't have a stuffed Spinoza,
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๋ฐ•์ œ๋œ ์Šคํ”ผ๋…ธ์ž๋„ ์—†์Šต๋‹ˆ๋‹ค.
11:55
but we do have a stuffed Pavlov's dog,
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๊ทธ๋Ÿฌ๋‚˜ ๋ฐ•์ œํ•œ ํŒŒ๋ธ”๋กœํ”„์˜ ๊ฐœ๋Š” ์žˆ์Šต๋‹ˆ๋‹ค.
11:57
and I visited him in the Museum of Hygiene in St. Petersburg, in Russia.
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์ „ ๋Ÿฌ์‹œ์•„ ์… ํŽ˜ํ…Œ์Šค๋ถ€๋ฅด๊ตฌ์— ์žˆ๋Š” ์ •์‹ ์œ„์ƒ ๋ฐ•๋ฌผ๊ด€์— ์žˆ๋Š” ๊ทธ ๊ฐœ๋ฅผ ๋ณด๋Ÿฌ ๊ฐ”์Šต๋‹ˆ๋‹ค.
12:01
And there he is, with this horrible electrical box on his rump
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๊ทธ๊ฐœ๋Š” ๋‘”๋ถ€์— ๋”์ฐํ•œ ์ „๊ธฐ ์ƒ์ž๋ฅผ ๋‹ฌ๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
12:06
in this fantastic, decrepit palace.
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์ด ํ™˜์ƒ์ ์ด๊ณ  ๋‚ก์€ ๊ถ์ „์•ˆ์—์„œ ์ž…๋‹ˆ๋‹ค.
12:10
"And I think it must have been a very, very dark day
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'' ๋ณผ์‰๋น„ํ‚ค๋“ค์ด ๋„์ฐฉํ–ˆ๋˜ ๋‚ ์€
12:12
when the Bolsheviks arrived.
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ํ‹€๋ฆผ์—†์ด ์•„์ฃผ ์–ด๋‘์šด ๋‚ ์ด์—ˆ๋‹ค๊ณ  ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค
12:13
Maybe amongst themselves they had a few good laughs,
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์•„๋งˆ ๊ทธ๋“ค์ค‘ ๋ช‡๋ช‡์€ ์กฐ๊ธˆ ์›ƒ์—ˆ์„ ์ง€๋„ ๋ชจ๋ฅด๊ฒ ์ง€๋งŒ,
12:15
but Stalin was a paranoid man, even more than my father."
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์Šคํƒˆ๋ฆฐ์€ ํ”ผํ•ด๋ง์ƒ์ฆ์ธ ์‚ฌ๋žŒ์ด์—ˆ์Šต๋‹ˆ๋‹ค, ์ €ํฌ ์•„๋ฒ„์ง€๋ณด๋‹ค๋„ ๋”์š”.
12:19
(Laughter)
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์›ƒ์Œ
12:20
You don't even know.
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๋‹น์‹ ๋“ค์€ ๋ชจ๋ฅด์ž–์•„์š”.,
12:21
"And decided his top people had to be extinctified."
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๊ทธ๋ž˜์„œ ๊ทธ์˜ ์ค‘์š”ํ•œ ์‚ฌ๋žŒ๋“ค์€ ์‚ฌ๋ฉธํ•˜๊ฒŒ ๋˜์—ˆ๋˜ ๊ฒƒ์ž…๋‹ˆ๋‹ค."
12:26
Which I think I made up, which is a good thing.
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์ œ๊ฐ€ ๊พธ๋ฉฐ๋‚ธ ์ƒ๊ฐ์ž…๋‹ˆ๋‹ค.
12:28
And so, this is a chart of, you know, just a small chart,
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์ด๊ฒƒ์€ ์ž‘์€ ๋„ํ‘œ์ž…๋‹ˆ๋‹ค,
12:31
because the chart would go on forever of all the people that he killed.
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๊ทธ๊ฐ€ ์ฃฝ์ธ ์‚ฌ๋žŒ๋“ค ๋ชจ๋‘๋ฅผ ํ‘œ์‹œํ•˜๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค..
12:33
So, shot dead, smacked over the head, you know, thrown away.
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์ด๋งž์•„ ์ฃฝ๊ณ , ๋จธ๋ฆฌ๋ฅผ ๋งž์•„์„œ, ๋‚ด๋˜์ ธ์ ธ์„œ ์ฃฝ์€ ์‚ฌ๋žŒ๋“ค ๋“ฑ๋“ฑ..
12:39
"Nabokov's family fled Russia. How could the young Nabokov,
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''๋‚˜๋ณด์ฝ”๋ธŒ ๊ฐ€์กฑ์€ ๋Ÿฌ์‹œ์•„๋ฅผ ๋„๋ง์ณค์Šต๋‹ˆ๋‹ค. ์–ด๋–ป๊ฒŒ
12:42
sitting innocently and elegantly in a red chair,
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์ Š์€ ๋‚˜๋ณด์ฝ”๋ธŒ๊ฐ€, ์ˆœ์ˆ˜ํ•˜๊ณ  ์šฐ์•„ํ•˜๊ฒŒ ๋นจ๊ฐ„ ์˜์ž์—
12:44
leafing through a book and butterflies,
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์•‰์•„์„œ ์ฑ…๊ณผ ๋‚˜๋น„๋“ค์„ ์ญ‰ ํ›‘์–ด๋ณด๊ณ  ์žˆ๋Š” ๊ทธ๊ฐ€,
12:46
imagine such displacement, such loss?"
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๊ทธ๋Ÿฐ ์ถ”๋ฐฉ๊ณผ ์ƒ์‹ค์„ ์ƒ์ƒํ•  ์ˆ˜ ์žˆ์—ˆ์„๊นŒ์š”?
12:50
And then I want to tell you that this is a map.
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์ด๊ฒƒ์€ ์ง€๋„๋ผ๊ณ  ๋งํ•˜๊ณ  ์‹ถ์€๋ฐ์š”,
12:52
So, "My beautiful mother's family fled Russia as well.
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"์ œ ์•„๋ฆ„๋‹ค์šด ์–ด๋จธ๋‹ˆ์˜ ๊ฐ€์กฑ๋“ค๋„ ๋˜ํ•œ ๋Ÿฌ์‹œ์•„๋กœ๋ถ€ํ„ฐ ๋„๋ง์ณค์Šต๋‹ˆ๋‹ค.
12:56
Too many pogroms.
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ํ•™์‚ด์ด ๋„ˆ๋ฌด ๋งŽ์•˜์Šต๋‹ˆ๋‹ค.
12:58
Leaving the shack, the wild blueberry woods, the geese, the River Sluch,
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์˜ค๋‘๋ง‰์ง‘, ์•ผ์ƒ๋ธ”๋ฃจ๋ฒ ๋ฆฌ์ˆฒ, ๊ฑฐ์œ„, ์Šค๋ฃจ์น˜๊ฐ•์„ ๋– ๋‚˜
13:01
they went to Palestine and then America."
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๊ทธ๋“ค์€ ํŒ”๋ ˆ์Šคํƒ€์ธ์„ ๊ฑฐ์ณ ๋ฏธ๊ตญ์œผ๋กœ ์™”์Šต๋‹ˆ๋‹ค
13:04
And my mother drew this map for me of the United States of America,
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์ด๊ฒƒ์€ ์ œ ์–ด๋จธ๋‹ˆ๊ฐ€ ๊ทธ๋ ค์ฃผ์‹  ๋ฏธ๊ตญ ์ง€๋„์ž…๋‹ˆ๋‹ค.
13:06
and that is my DNA over here, because that person who I grew up with
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์ €์˜ DNA๊ฐ€ ์—ฌ๊ธฐ ๋‚˜ํƒ€๋‚˜์žˆ์Šต๋‹ˆ๋‹ค, ์ €๋ฅผ ๊ธฐ๋ฅด์‹  ์–ด๋จธ๋‹ˆ๊ป˜์„œ๋Š”
13:15
had no use for facts whatsoever.
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์‚ฌ์‹ค์ด๋ž€๊ฒƒ์„ ์‚ฌ์šฉํ•œ ์ผ์ด ์—†์—ˆ๊ธฐ ๋•Œ๋ฌธ์—,
13:17
Facts were actually banished from our home.
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์‚ฌ์‹ค์€ ์‹ค์ œ๋กœ ์šฐ๋ฆฌ์ง‘์—์„œ๋Š” ์‚ฌ๋ผ์ ธ๋ฒ„๋ ธ์Šต๋‹ˆ๋‹ค.
13:20
And so, if you see that Texas -- you know, Texas and California
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ํ…์‚ฌ์Šค๋ฅผ ๋ณด๋ฉด, ํ…์‚ฌ์Šค์™€ ์บ˜๋ฆฌํฌ๋‹ˆ์•„๋Š”
13:24
are under Canada, and that South Carolina is on top of North Carolina,
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์บ๋‚˜๋‹ค ์•„๋ž˜ ์žˆ๊ณ , ์‚ฌ์šฐ์Šค ์บ˜๋ฆฌํฌ๋‹ˆ์•„๋Š” ๋…ธ์Šค ์บ๋กค๋ฆฌ๋‚˜ ์œ„์—์žˆ์Šต๋‹ˆ๋‹ค.
13:27
this is the home that I grew up in, OK?
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์ œ๊ฐ€ ์ž๋ผ๋‚œ ๊ฐ€์ •์€ ์ด๋žฌ์Šต๋‹ˆ๋‹ค,
13:29
So, it's a miracle that I'm here today.
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๊ทธ๋ž˜์„œ, ์ œ๊ฐ€ ์˜ค๋Š˜ ์—ฌ๊ธฐ ์žˆ๋Š” ๊ฒƒ์€ ๊ธฐ์ ์ž…๋‹ˆ๋‹ค.
13:31
But actually, it's not. It's actually a wonderful thing.
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์ •๋ง ๋Œ€๋‹จํ•œ ์ผ์ž…๋‹ˆ๋‹ค.
13:35
But then she says Tel Aviv and Lenin,
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์–ด๋จธ๋‹ˆ๋Š” ๊ฐ€์กฑ์˜ ๊ณ ํ–ฅ์ธ ํ…”์•„๋น„๋ธŒ์™€ ๋ ˆ๋‹Œ์— ๋Œ€ํ•ด ๋งํ•˜์‹ญ๋‹ˆ๋‹ค.
13:37
which is the town they came from, and, "Sorry, the rest unknown, thank you."
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๊ทธ ์ด์™ธ์—๋Š” ์•„๋ฌด๊ฒƒ๋„ ๋ชจ๋ฅด์‹ญ๋‹ˆ๋‹ค.
13:40
But in her lexicon, "sorry, the rest unknown, thank you" is
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๊ทธ๋Ÿฌ๋‚˜ ์–ด๋จธ๋‹ˆ์˜ ์‚ฌ์ „์— ์—†๋Š” ๋‚˜๋จธ์ง€ ๊ฒƒ๋“ค์€
13:42
"sorry, the rest unknown, go to hell,"
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๋ฏธ์•ˆํ•˜์ง€๋งŒ, ์—†์–ด์ ธ๋ฒ„๋ฆฌ๋ผ๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
13:44
because she couldn't care less.
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์™œ๋ƒํ•˜๋ฉด ์–ด๋จธ๋‹ˆ๋Š” ๋œ ์‹ ๊ฒฝ์“ธ ์ˆ˜๊ฐ€ ์—†์œผ์‹œ๊ธฐ ๋•Œ๋ฌธ์ž…๋‹ˆ๋‹ค.
13:45
(Laughter)
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(์›ƒ์Œ)
13:46
"The Impossibility of February"
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2์›”์˜ ๋ถˆ๊ฐ€๋Šฅ์„ฑ์ด๋ž€,
13:48
is that February's a really wretched month in New York
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๋‰ด์š•์˜ 2์›”๋‹ฌ์€ ์ •๋ง ๋ถˆ์พŒํ•œ ๋‹ฌ์ด๊ณ ,
13:51
and the images for me conjure up these really awful things.
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๊ทธ ์ด๋ฏธ์ง€๋“ค์€ ๋‚ด๊ฒŒ ์ •๋ง ์ด์ƒํ•œ ๊ฒƒ๋“ค์„ ์ƒ๊ฐ๋‚˜๊ฒŒ ํ•ฉ๋‹ˆ๋‹ค.
13:54
Well, not so awful.
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๋ญ, ๋ณ„๋กœ ๊ทธ๋ ‡๊ฒŒ ์ด์ƒํ•˜์ง„ ์•Š์Šต๋‹ˆ๋‹ค.
13:56
I received a box in the mail and it was wrapped with newspaper
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์ „ ๋ฉ”์ผ๋กœ ๋ฐ•์Šค๋ฅผ ํ•˜๋‚˜ ๋ฐ›์•˜๊ณ  ๊ทธ๊ฒƒ์€ ์‹ ๋ฌธ์ง€๋กœ ์Œ“์—ฌ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค.
13:59
and there was the picture of the man on the newspaper and he was dead.
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๊ทธ ์‹ ๋ฌธ์—๋Š” ์ฃฝ์€ ๋‚จ์ž์˜ ์‚ฌ์ง„์ด ์‹ค๋ ค ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค.
14:03
And I say, "I hope he's not really dead,
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"๊ทธ๊ฐ€ ์ง„์งœ๋กœ ์ฃฝ์ง€์•Š์•˜๊ณ 
14:05
just enjoying a refreshing lie-down in the snow,
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๋‹จ์ง€ ๋ˆˆ์— ๊ธฐ๋ถ„์ข‹๊ฒŒ ๋ˆ„์›Œ์žˆ๊ธธ ์ฆ๊ธฐ๊ณ  ์žˆ๋‹ค''๊ณ  ์ถ”์ •ํ–ˆ์ฃ .
14:07
but the caption says he is dead."
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๊ทธ๋Ÿฌ๋‚˜ ์„ค๋ช…์—๋Š” ๊ทธ๋Š” ์ฃฝ์—ˆ๋‹ค๊ณ  ์จ ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค.
14:09
And actually, he was. I think he's dead, though I don't know,
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์‹ค์ œ๋กœ, ์ „ ๊ทธ๊ฐ€ ์ฃฝ์—ˆ๋‹ค๊ณ  ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค๋งŒ,
14:12
maybe he's not dead.
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์•„๋งˆ ๊ทธ๋Š” ์ฃฝ์ง€์•Š์•˜์„์ง€๋„ ๋ชจ๋ฆ…๋‹ˆ๋‹ค.
14:14
"And this woman leans over in anguish, not about that man,
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์ด ์—ฌ์ž๋Š” ๋‚จ์ž์— ๊ด€ํ•ด์„œ๊ฐ€ ์•„๋‹ˆ๋ผ
14:16
but about all sad things. It happens quite often in February."
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๋ชจ๋“  ์Šฌํ””์— ๊ด€ํ•œ ๊ณ ๋‡Œ์— ๋น ์ ธ ์žˆ์Šต๋‹ˆ๋‹ค. ์ด๋Ÿฐ์ผ์€ 2์›”์— ์ž์ฃผ ์ผ์–ด๋‚ฉ๋‹ˆ๋‹ค.
14:21
There's consoling.
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์œ„๋กœํ•˜๋Š” ๊ทธ๋ฆผ์ž…๋‹ˆ๋‹ค.
14:23
This man is angry because somebody threw onions all over the staircase,
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์ด๋‚จ์ž๋Š” ํ™”๊ฐ€ ๋‚˜์žˆ์Šต๋‹ˆ๋‹ค ๋ˆ„๊ตฐ๊ฐ€๊ฐ€ ๊ณ„๋‹จ์— ์–‘ํŒŒ๋ฅผ ๋˜์กŒ๊ธฐ ๋•Œ๋ฌธ์ž…๋‹ˆ๋‹ค.
14:27
and basically -- you know, I guess onions are a theme here.
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์•„๋งˆ- ์—ฌ๊ธฐ์„œ ์–‘ํŒŒ๊ฐ€ ์ฃผ์ œ์ธ๊ฒƒ ๊ฐ™์Šต๋‹ˆ๋‹ค..
14:30
And he says, "It is impossible not to lie.
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๊ทธ๋Š” ''๊ฑฐ์ง“๋ง ํ•˜์ง€์•Š๋Š”๊ฒƒ์€ ๋ถˆ๊ฐ€๋Šฅํ•˜๋‹ค,
14:32
It is February and not lying is impossible."
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2์›”์ด๋ผ์„œ ๊ฑฐ์ง“๋ง ํ•˜์ง€์•Š๋Š”๊ฒƒ์ด ๋ถˆ๊ฐ€๋Šฅํ•˜๋‹ค'' ๊ณ  ๋งํ•ฉ๋‹ˆ๋‹ค.
14:34
And I really spend a lot of time wondering,
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์ œ๊ฐ€ ์ •๋ง ๊ถ๊ธˆํ•˜๊ฒŒ ์ƒ๊ฐํ•ด์˜จ๊ฒƒ์ด ์žˆ๋Š”๋ฐ์š”,
14:36
how much truth do we tell?
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์šฐ๋ฆฐ ์–ผ๋งˆ๋‚˜ ๋งŽ์€ ์ง„์‹ค์„ ๋งํ• ๊นŒ?
14:38
What is it that we're actually -- what story are we actually telling?
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์šฐ๋ฆฌ๊ฐ€ ์‹ค์ œ๋กœ ๋งํ•˜๋Š”๊ฒƒ์€ ๋ฌด์—‡์ผ๊นŒ?
14:41
How do we know when we are ourselves?
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์šฐ๋ฆฐ ์–ด๋–ป๊ฒŒ ์šฐ๋ฆฌ๊ฐ€ ์šฐ๋ฆฌ ์ž์‹ ์ด๋ž€๊ฒƒ์„ ์•Œ๊นŒ?
14:43
How do we actually know that these sentences coming out of our mouths
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์–ด๋–ป๊ฒŒ ์‹ค์ œ๋กœ ์•Œ ์ˆ˜ ์žˆ์„๊นŒ? ์šฐ๋ฆฌ์ž…์—์„œ ๋‚˜์˜ค๋Š” ์ด๋Ÿฐ ๋ฌธ์žฅ๋“ค์ด
14:46
are real stories, you know, are real sentences?
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์ง„์งœ ์ด์•ผ๊ธฐ์ผ๊นŒ์š”, ์ง„์งœ ๋ฌธ์žฅ์ผ๊นŒ์š”?
14:48
Or are they fake sentences that we think we ought to be saying?
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์•„๋‹ˆ๋ฉด ์šฐ๋ฆฌ๊ฐ€ ๋งํ•ด์•ผํ•œ๋‹ค๊ณ  ์ƒ๊ฐํ•˜๋Š” ๊ฒƒ๋“ค์ด ๊ฐ€์งœ ๋ฌธ์žฅ๋“ค์ผ๊นŒ์š”?
14:51
I'm going to quickly go through this.
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๋นจ๋ฆฌ ์ง€๋‚˜๊ฐ€๊ฒ ์Šต๋‹ˆ๋‹ค.
14:54
A quote by Bertrand Russell,
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๋ฒ„ํŠธ๋ž€๋“œ ๋Ÿฌ์…€์ด ๋งํ–ˆ์Šต๋‹ˆ๋‹ค,
14:56
"All the labor of all the ages, all the devotion, all the inspiration,
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๋ชจ๋“ ์—ฐ๋ น์ธต์˜ ๋…ธ๋™๋ ฅ, ํ—Œ์‹ , ์˜๊ฐ,
15:00
all the noonday brightness of human genius
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์ฒœ์žฌ๋“ค์˜ ๋น›๋‚˜๋Š” ๋ชจ๋“  ์ฒœ์žฌ์„ฑ์€
15:03
are destined to extinction.
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์†Œ๋ฉธํ•˜๊ฒŒ ๋ฉ๋‹ˆ๋‹ค.
15:05
So now, my friends, if that is true,
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์ž, ์นœ๊ตฌ๋“ค,, ์ €๊ฒƒ์ด ์ง„์‹ค์ด๊ณ ,
15:07
and it is true, what is the point?"
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๊ทธ๊ฒƒ์ด ์ง„์‹ค์ด๋ผ๋ฉด, ๋ฌด์—‡์„ ๋งํ•˜๋ ค๋Š” ๊ฒ๋‹ˆ๊นŒ?
15:10
A complicated question.
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๋ณต์žกํ•œ ์งˆ๋ฌธ์ž…๋‹ˆ๋‹ค.
15:11
And so, you know, I talk to my friends
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์ „ ์ œ ์นœ๊ตฌ๋“ค๊ณผ ๋Œ€ํ™”ํ•˜๊ณ ,
15:14
and I go to plays where they're singing Russian songs.
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๋Ÿฌ์‹œ์•ˆ ๋…ธ๋ž˜๋ฅผ ๋ถ€๋ฅด๋Š” ์—ฐ๊ทน์„ ๋ณด๋Ÿฌ๊ฐ‘๋‹ˆ๋‹ค.
15:17
Oh my God, you know what?
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์„ธ์ƒ์—๋‚˜, ๊ทธ๊ฑฐ ์•„์„ธ์š”?
15:19
Could we have -- no, we don't have time.
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์Œ์•…์„ ํ‹€์–ด์ค„ ์ˆ˜ ์žˆ๋‚˜์š”?
15:21
I taped my aunt. I taped my aunt singing a song in Russian from the --
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์ „ ์ˆ™๋ชจ๊ป˜์„œ ๋Ÿฌ์‹œ์•„์–ด๋กœ ๋ถ€๋ฅธ ๋…ธ๋ž˜๋ฅผ ๋…น์Œํ–ˆ์Šต๋‹ˆ๋‹ค.
15:23
you know, could we have it for a second?
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์ž ๊น ๋“ค์–ด๋ณผ ์ˆ˜ ์žˆ์„๊นŒ์š”?
15:26
Do you have that?
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๋“ค๋ ค์ค„ ์ˆ˜ ์žˆ๋‚˜์š”?
15:28
(Music)
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(์Œ์•…)
15:47
OK. I taped my -- my aunt used to swim in the ocean
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85์„ธ ๊ฐ€๋Ÿ‰ ๋  ๋•Œ ๊นŒ์ง€ ๋งค์ผ ๋ฐ”๋‹ค์—์„œ ์ˆ˜์˜์„
15:50
every day of the year until she was about 85.
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ํ•˜๊ณค ํ•˜์…จ๋˜ ์ˆ™๋ชจ์˜ ๋…ธ๋ž˜๋ฅผ ์ œ๊ฐ€ ๋…น์Œํ–ˆ์Šต๋‹ˆ๋‹ค.
15:57
So -- and that's a song about how everybody's miserable
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๊ทธ ๋…ธ๋ž˜๋Š” ๋ชจ๋“  ์‚ฌ๋žŒ์ด ์–ผ๋งˆ๋‚˜ ๋น„์ฐธํ–ˆ๋‚˜์— ๊ด€ํ•œ ๋…ธ๋ž˜์ž…๋‹ˆ๋‹ค.
15:59
because, you know, we're from Russia.
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์šฐ๋ฆฌ ๊ฐ€์กฑ๋“ค์€ ๋Ÿฌ์‹œ์•„์—์„œ ์™”๊ธฐ ๋•Œ๋ถ„์ž…๋‹ˆ๋‹ค.
16:01
(Laughter)
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(์›ƒ์Œ)
16:02
I went to visit Kitty Carlisle Hart, and she is 96,
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์ „ ํ‚คํ‹ฐ ์นด๋ฆฌ์ฆ ํ•˜ํŠธ๋ฅผ ๋ฐฉ๋ฌธํ–ˆ๋Š”๋ฐ์š”, ๊ทธ๋…€๋Š” 96์„ธ์ž…๋‹ˆ๋‹ค.
16:04
and when I brought her a copy of "The Elements of Style,"
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๊ทธ๋…€์—๊ฒŒ ''์Šคํƒ€์ผ์˜ ์š”์†Œ''๋ฅผ ํ•œ๊ถŒ ๊ฐ€์ ธ๊ฐ”๋”๋‹ˆ,
16:07
she said she would treasure it.
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๊ทธ๋…€๋Š” ๊ทธ๊ฒƒ์„ ์ž˜ ์†Œ์ค‘ํžˆ ๊ฐ„์ˆ˜ํ•˜๊ฒ ๋‹ค๊ณ  ํ–ˆ์Šต๋‹ˆ๋‹ค.
16:09
And then I said -- oh, and she was talking about Moss Hart, and I said,
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๊ทธ๋ฆฌ๊ณ  ๊ทธ๋…€๋Š” ๋ชจ์Šค ํ•˜ํŠธ์— ๋Œ€ํ•ด ๋งํ–ˆ๊ณ ,
16:11
"When you met him, you knew it was him."
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๋‹น์‹ ์ด ๊ทธ๋ฅผ ๋งŒ๋‚ฌ์„๋•Œ ๊ทธ[๋Š”] ์šด๋ช…์˜ ๋‚จ์ž๋ผ๋Š”๊ฑธ ์•Œ์•˜๋ƒ๊ณ  ๋ฌผ์–ด๋ณด์•˜์Šต๋‹ˆ๋‹ค.
16:13
And she said, "I knew it was he."
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๊ทธ๋…€๋Š” ๊ทธ[๊ฐ€] ๋ผ๋Š”๊ฑธ ์•Œ์•˜๋‹ค๊ณ  ๋งํ–ˆ์Šต๋‹ˆ๋‹ค.
16:14
(Laughter)
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(์›ƒ์Œ)
16:17
So, I was the one who should have kept the book, but it was a really wonderful moment.
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๋ฌธ๋ฒ•์ฑ…์ด ํ•„์š”ํ•œ ์‚ฌ๋žŒ์€ ์ €์˜€์Šต๋‹ˆ๋‹ค, ๊ทธ๊ฑด ์ •๋ง ๋ฉ‹์ง„ ์ˆœ๊ฐ„์ด์—ˆ์Šต๋‹ˆ๋‹ค.
16:20
And she dated George Gershwin, so, you know, get out.
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๊ทธ๋…€๋Š” ์ฃ ์ง€ ๊ฑฐ์‰ฐ๊ณผ ๋ฐ์ดํŠธํ–ˆ์—ˆ์Šต๋‹ˆ๋‹ค,
16:23
Gershwin died at the age of 38.
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๊ฑฐ์‰ฐ์€ 38์‚ด์— ์ฃฝ์—ˆ์Šต๋‹ˆ๋‹ค.
16:26
He's buried in the same cemetery as my husband.
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๊ทธ๋Š” ์ œ ๋‚จํŽธ๊ณผ ๊ฐ™์€ ๊ณต๋™๋ฌ˜์ง€์— ์žˆ์Šต๋‹ˆ๋‹ค.
16:29
I don't want to talk about that now.
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์ง€๊ธˆ ๊ทธ๊ฒƒ์— ๋Œ€ํ•ด ์–˜๊ธฐํ•˜๊ณ  ์‹ถ์ง„ ์•Š์Šต๋‹ˆ๋‹ค.
16:31
I do want to talk -- the absolute icing on this cemetery cake
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๊ธˆ์ƒ์ฒจํ™”์ธ๊ฒƒ์€ ๋ฐ”๋ฆฌ์‹œ๋‹ˆ๊ฐ€์˜ ๋ฌด๋ค๊ณผ
16:33
is the Barricini family mausoleum nearby.
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๊ฐ€๊นŒ์šด๊ณณ ์ด๋ผ๋Š”๊ฒƒ์ž…๋‹ˆ๋‹ค.
16:36
I think the Barricini family should open a store there and sell chocolate.
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์ „ ๋ฐ”๋ฆฌ์‹œ๋‹ˆ๊ฐ€๊ฐ€ ๊ฑฐ๊ธฐ ์ดˆ์ฝ”๋ ›๊ฐ€๊ฒŒ๋ฅผ ์—ด์–ด์•ผํ•œ๋‹ค๊ณ  ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค.
16:39
(Laughter)
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16:40
And I would like to run it for them.
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์ „ ๊ทธ๋“ค์„ ์œ„ํ•ด ๊ทธ ์šด์˜์„ ๋งก๊ณ  ์‹ถ์Šต๋‹ˆ๋‹ค.
16:41
And I went to visit Louise Bourgeoise,
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์ „ ๋ฃจ์ด์Šค ๋ถ€๋ฅด์ฃผ์•„๋ฅผ ๋ฐฉ๋ฌธํ•˜๋Ÿฌ ๊ฐ”์Šต๋‹ˆ๋‹ค.
16:43
who's also still working, and I looked at her sink,
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๊ทธ๋…€๋Š” ์—ฌ์ „ํžˆ ์ž‘์—…์„ ํ•˜๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค, ๊ทธ๋…€์ง‘์˜ ์„ธ๋ฉด๋Œ€๋ฅผ ๋ณด์•˜๋Š”๋ฐ,
16:45
which is really amazing, and left.
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์ •๋ง ๋†€๋ž„๋งŒํ•ฉ๋‹ˆ๋‹ค.
16:47
And then I photograph and do a painting of a sofa on the street.
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๊ทธ๋‹ค์Œ์— ์ €๋Š” ๊ธธ๊ฐ€์— ์žˆ๋Š” ์†ŒํŒŒ ์‚ฌ์ง„์„ ์ฐ๊ณ  ๊ทธ๋ ธ์Šต๋‹ˆ๋‹ค.
16:50
And a woman who lives on our street, Lolita.
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์šฐ๋ฆฌ์ง‘๊ณผ ๊ฐ™์€ ๊ฑฐ๋ฆฌ์— ์‚ฌ๋Š” ๋กœ๋ฆฌํƒ€๋ผ๋Š” ์—ฌ์ธ๋„ ๊ทธ๋ ธ์Šต๋‹ˆ๋‹ค.
16:53
And then I go and have some tea.
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์ „ ์ฐจ๋ฅผ ๋งˆ์‹œ๋Ÿฌ ๊ฐ”์Šต๋‹ˆ๋‹ค.
16:55
And then my Aunt Frances dies, and before she died,
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ํ”„๋ž€์‹œ์Šค ์ˆ™๋ชจ๋Š” ๊ทธ๋…€๊ฐ€ ์ฃฝ๊ธฐ์ „์—
16:58
she tried to pay with Sweet'N Low packets for her bagel.
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์ธ๊ณต๊ฐ๋ฏธ๋ฃŒ ๋ฌถ์Œ์œผ๋กœ ๋ฒ ์ด๊ธ€์„ ์‚ฌ๋ ค ํ–ˆ์Šต๋‹ˆ๋‹ค.
17:01
(Laughter)
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(์›ƒ์Œ)
17:03
And I wonder what the point is and then I know, and I see
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์š”์ ์ด ๋ฌด์—‡์ผ๊นŒ ๊ถ๊ธˆํ•ฉ๋‹ˆ๋‹ค,
17:05
that Hy Meyerowitz, Rick Meyerowitz's father,
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๋ฆญ ๋งˆ์ด๋กœ์œ„์ธ ์˜ ์•„๋ฒ„์ง€์ธ ํ•˜์ด ๋งˆ์ด๋กœ์œ„์ธ ๋ฅผ ๋ณด์•˜์Šต๋‹ˆ๋‹ค.
17:07
a dry-cleaning supply salesman from the Bronx,
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๊ทธ๋Š” ๋ธŒ๋กฑํฌ์Šค์—์„œ ์˜จ ๋“œ๋ผ์ดํด๋ฆฌ๋‹ ์šฉํ’ˆ ์˜์—…์‚ฌ์›์ธ๋ฐ์š”,
17:09
won the Charlie Chaplin look-alike contest in 1931.
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1931๋…„ ์ฐฐ๋ฆฌ ์ฑ„ํ”Œ๋ฆฐ ๋‹ฎ์€์‚ฌ๋žŒ ์ฝ˜ํ…Œ์ŠคํŠธ์—์„œ ์šฐ์Šน์„ ํ–ˆ์Šต๋‹ˆ๋‹ค.
17:14
That's actually Hy.
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์ด์‚ฌ๋žŒ์ด ํ•˜์ด ์ž…๋‹ˆ๋‹ค.
17:16
And I look at a beautiful bowl of fruit,
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๊ณผ์ผ์„ ๋„ฃ์€ ๋ณด์šธ์ž…๋‹ˆ๋‹ค.
17:19
and I look at a dress that I sewed for friends of mine.
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์ œ๊ฐ€ ์นœ๊ตฌ๋ฅผ ์œ„ํ•ด ๋งŒ๋“  ๋“œ๋ ˆ์Šค์ž…๋‹ˆ๋‹ค.
17:22
And it says, "Ich habe genug," which is a Bach cantata,
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์ด๊ฒƒ์€ ๋ฐ”ํ•˜์˜ ์นธํƒ€ํƒ€์ธ๋ฐ์š”,
17:24
which I once thought meant "I've had it, I can't take it anymore,
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๋”์ด์ƒ ์ฐธ์„ ์ˆ˜ ์—†๋‹ค๋Š” ์˜๋ฏธ๋ผ ์ƒ๊ฐํ–‡์Šต๋‹ˆ๋‹ค๋งŒ,
17:27
give me a break," but I was wrong.
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๊ทธ๊ฒƒ์ด ์•„๋‹ˆ์—ˆ์Šต๋‹ˆ๋‹ค.
17:30
It means "I have enough." And that is utterly true.
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๋‚˜๋Š” ๋งŒ์กฑํ•œ๋‹ค ๋Š” ์˜๋ฏธ์ž…๋‹ˆ๋‹ค. -- ์™„์ „ํ•œ ์ง„์‹ค์ž…๋‹ˆ๋‹ค.
17:33
I happen to be alive, end of discussion. Thank you.
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์ „ ์ด๋ ‡๊ฒŒ ์‚ด๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค. ์ด์ƒ์ž…๋‹ˆ๋‹ค. ๊ฐ์‚ฌํ•ฉ๋‹ˆ๋‹ค
17:35
(Applause)
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(๋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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