Martin Villeneuve: How I made an impossible film

84,473 views ใƒป 2013-06-07

TED


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

00:00
Translator: Joseph Geni Reviewer: Morton Bast
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๋ฒˆ์—ญ: Gichung Lee ๊ฒ€ํ† : ๋ฏผ์„ ์ตœ
00:13
I made a film that was impossible to make,
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์ €๋Š” ๋งŒ๋“ค๊ธฐ ๋ถˆ๊ฐ€๋Šฅํ•œ ์˜ํ™”๋ฅผ ๋งŒ๋“ค์—ˆ์Šต๋‹ˆ๋‹ค.
00:15
but I didn't know it was impossible,
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ํ•˜์ง€๋งŒ ๋งŒ๋“ค๊ธฐ ๋ถˆ๊ฐ€๋Šฅํ•˜๋‹ค๋Š” ๊ฒƒ์„ ๋ชฐ๋ž๊ธฐ ๋•Œ๋ฌธ์—,
00:19
and that's how I was able to do it.
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๊ทธ ์˜ํ™”๋ฅผ ๋งŒ๋“ค ์ˆ˜ ์žˆ์—ˆ์ฃ .
00:22
"Mars et Avril" is a science fiction film.
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"๋งˆ์Šค ์—ฃ ์—์ด๋ธŒ๋ฆด (Mars et Avril)"์ด๋ผ๋Š” ๊ณต์ƒ ๊ณผํ•™ ์˜ํ™”์ธ๋ฐ
00:24
It's set in Montreal some 50 years in the future.
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50๋…„์ฏค ํ›„ ๋ฏธ๋ž˜์˜ ๋ชฌํŠธ๋ฆฌ์˜ฌ์„ ๋ฐฐ๊ฒฝ์œผ๋กœ ํ•˜๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
00:29
No one had done that kind of movie in Quebec before
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ํ€˜๋ฒก์—์„œ๋Š” ์•„๋ฌด๋„ ์ด๋Ÿฐ ์ข…๋ฅ˜์˜ ์˜ํ™”๋ฅผ ๋งŒ๋“ ์ ์ด ์—†์–ด์š”.
00:31
because it's expensive, it's set in the future,
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์™œ๋ƒํ•˜๋ฉด ๋งค์šฐ ๋ˆ์ด ๋งŽ์ด ๋“ค๊ณ , ๋ฏธ๋ž˜๊ฐ€ ๋ฐฐ๊ฒฝ์ด๊ณ ,
00:34
and it's got tons of visual effects,
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์‹œ๊ฐ ํšจ๊ณผ๋„ ๋งŽ์ด ์‚ฌ์šฉํ•ด์•ผ ํ•˜๊ณ ,
00:36
and it's shot on green screen.
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๊ทธ๋ฆฐ ์Šคํฌ๋ฆฐ(๋ฌด๋ฐฐ๊ฒฝ ์„ธํŠธ)์—์„œ ์ฐ์–ด์•ผ ํ•˜๊ธฐ ๋•Œ๋ฌธ์ž…๋‹ˆ๋‹ค.
00:39
Yet this is the kind of movie that I wanted to make
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์–ด์จŒ๋“  ์ €๋Š” ์ด๋Ÿฐ ์ข…๋ฅ˜์˜ ์˜ํ™”๋ฅผ ๋งŒ๋“ค๊ณ  ์‹ถ์—ˆ์Šต๋‹ˆ๋‹ค.
00:41
ever since I was a kid, really,
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์ œ๊ฐ€ ์•„์ฃผ ์–ด๋ ธ์„ ๋•Œ ๋ถ€ํ„ฐ ๋ง์ด์ฃ ,
00:43
back when I was reading some comic books
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๋งŒํ™”์ฑ…์„ ์ฝ๊ณ 
00:45
and dreaming about what the future might be.
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๋ฏธ๋ž˜์— ๋Œ€ํ•ด ๊ฟˆ๊พธ๋˜ ๊ทธ ์‹œ์ ˆ๋ถ€ํ„ฐ์š”.
00:48
When American producers see my film,
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๋ฏธ๊ตญ ํ”„๋กœ๋“€์„œ๋“ค์€ ์ œ ์˜ํ™”๋ฅผ ๋ณด๊ณ ๋Š”,
00:51
they think that I had a big budget to do it,
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์ œ๊ฐ€ ์˜ˆ์‚ฐ์ด ์•„์ฃผ ๋งŽ์•˜์„๊ฑฐ๋ผ๊ณ  ์ƒ๊ฐํ–ˆ์–ด์š”,
00:54
like 23 million.
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2;300๋งŒ ๋‹ฌ๋Ÿฌ ์ •๋„ ๋ง์ด์ฃ .
00:57
But in fact I had 10 percent of that budget.
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ํ•˜์ง€๋งŒ ์‚ฌ์‹ค ์ œ ์˜ˆ์‚ฐ์€ ์ด์˜ 10 ํผ์„ผํŠธ ์ •๋„์˜€์–ด์š”.
01:00
I did "Mars et Avril" for only 2.3 million.
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"๋งˆ์Šค ์—ฃ ์—์ด๋ธŒ๋ฆด"์€ 230๋งŒ ๋‹ฌ๋Ÿฌ๋กœ ๋งŒ๋“  ์˜ํ™”์ž…๋‹ˆ๋‹ค.
01:03
So you might wonder, what's the deal here?
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์–ด๋–ป๊ฒŒ ๊ทธ๊ฒŒ ๊ฐ€๋Šฅํ–ˆ์ง€? ๋ผ๊ณ  ๊ถ๊ธˆํ•˜์‹ค ํ…๋ฐ์š”.
01:04
How did I do this?
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์ œ๊ฐ€ ์–ด๋–ป๊ฒŒ ํ–ˆ์„๊นŒ์š”?
01:07
Well, it's two things. First, it's time.
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๋‘ ๊ฐ€์ง€์ž…๋‹ˆ๋‹ค. ์ฒซ ๋ฒˆ์งธ๋Š” ์‹œ๊ฐ„์ด์—์š”.
01:10
When you don't have money, you must take time,
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๋ˆ์ด ์—†์œผ๋ฉด, ์‹œ๊ฐ„์„ ๋“ค์—ฌ์•ผ ํ•ด์š”.
01:13
and it took me seven years to do "Mars et Avril."
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์ œ๊ฐ€ "๋งˆ์Šค ์—ฃ ์—์ด๋ธŒ๋ฆด"์„ ์™„์„ฑํ•˜๋Š”๋ฐ 7๋…„์ด ๊ฑธ๋ ธ์Šต๋‹ˆ๋‹ค.
01:17
The second aspect is love.
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๋‘ ๋ฒˆ์งธ๋Š” ์‚ฌ๋ž‘์ด์—์š”.
01:20
I got tons and tons of generosity from everyone involved.
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์ €๋Š” ์ด ์˜ํ™”์™€ ๊ด€๋ จ๋œ ๋ชจ๋‘๋กœ๋ถ€ํ„ฐ ์—„์ฒญ๋‚˜๊ฒŒ ๋„ˆ๊ทธ๋กœ์šด ๋„์›€์„ ๋ฐ›์•˜์Šต๋‹ˆ๋‹ค.
01:23
And it seems like every department had nothing,
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๋ชจ๋“  ๋ถ€์„œ๋“ค์€ ๊ฐ€์ง„ ๊ฒƒ์ด ์ „ํ˜€ ์—†๋Š” ๊ฒƒ์ฒ˜๋Ÿผ ๋ณด์˜€๊ณ ,
01:26
so they had to rely on our creativity
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๊ทธ๋“ค์€ ์šฐ๋ฆฌ์˜ ์ฐฝ์กฐ๋ ฅ์— ํž˜์ž…์–ด
01:29
and turn every problem into an opportunity.
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๋ชจ๋“  ๋ฌธ์ œ๋ฅผ ๊ธฐํšŒ๋กœ ๋ฐ”๊พธ์–ด์•ผ ํ–ˆ์Šต๋‹ˆ๋‹ค.
01:31
And that brings me to the point of my talk, actually,
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์‚ฌ์‹ค ์ด๊ฒƒ์ด ์ œ ์ด์•ผ๊ธฐ์˜ ํ•ต์‹ฌ๊ณผ ์—ฐ๊ฒฐ๋˜๋Š”๋ฐ์š”,
01:33
how constraints, big creative constraints, can boost creativity.
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๋ฐ”๋กœ ์–ด๋–ป๊ฒŒ ๋ฐฉํ•ด๋ฌผ, ์ปค๋‹ค๋ž€ ์ฐฝ์กฐ์ ์ธ ๋ฐฉํ•ด๋ฌผ๋“ค์ด ์ฐฝ์กฐ์„ฑ์„ ์ด‰์ง„์‹œํ‚ฌ ์ˆ˜ ์žˆ๋Š”๊ฐ€ ํ•˜๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
01:37
But let me go back in time a bit.
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ํ•˜์ง€๋งŒ ์กฐ๊ธˆ๋งŒ ๋” ๊ณผ๊ฑฐ๋กœ ๊ฑฐ์Šฌ๋Ÿฌ ์˜ฌ๋ผ๊ฐ€ ๋ณด์ฃ .
01:41
In my early 20s, I did some graphic novels,
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์ œ๊ฐ€ 20๋Œ€ ์ดˆ๋ฐ˜์ด์—ˆ์„ ๋•Œ, ์ €๋Š” ๋งŒํ™” ์†Œ์„ค์„ ๊ทธ๋ฆฐ ์ ์ด ์žˆ์—ˆ์–ด์š”,
01:44
but they weren't your usual graphic novels.
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ํ•˜์ง€๋งŒ ์—ฌ๋Ÿฌ๋ถ„์ด ์ฃผ๋กœ ๋ณด์‹œ๋Š” ๊ทธ๋Ÿฐ ๋งŒํ™” ์†Œ์„ค์€ ์•„๋‹ˆ์—ˆ์Šต๋‹ˆ๋‹ค.
01:46
They were books telling a science fiction story
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๊ณต์ƒ ๊ณผํ•™ ์ด์•ผ๊ธฐ๋ฅผ
01:48
through images and text,
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๊ทธ๋ฆผ๊ณผ ๊ธ€์„ ์ด์šฉํ•ด ๋“ค๋ ค์ฃผ๋Š” ์ฑ…๋“ค์ด์—ˆ๊ณ ,
01:51
and most of the actors who are now starring
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์˜ํ™”ํ™”๋œ ์ž‘ํ’ˆ์— ๋“ฑ์žฅํ•˜๋Š” ๋Œ€๋ถ€๋ถ„์˜ ๋ฐฐ์šฐ๋“ค์€,
01:55
in the movie adaptation, they were already involved
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์ด๋ฏธ ์ด๋Ÿฌํ•œ ์ฑ…๋“ค ์†์—์„œ
01:57
in these books portraying characters
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์‹คํ—˜์ ์ด๊ณ , ๊ทน์ ์ด๋ฉฐ, ๋‹จ์ˆœํ™”๋œ ๋ฐฉ๋ฒ•์œผ๋กœ
02:00
into a sort of experimental, theatrical, simplistic way.
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์บ๋ฆญํ„ฐ๋ฅผ ํ‘œํ˜„ํ•˜๋Š” ๊ณผ์ •์— ๊ด€์—ฌ๋˜์–ด ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค.
02:06
And one of these actors is the great stage director
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์ด๋Ÿฌํ•œ ๋ฐฐ์šฐ๋“ค ์ค‘ ํ•˜๋‚˜๋Š” ํ›Œ๋ฅญํ•œ ๋ฌด๋Œ€ ์—ฐ์ถœ๊ฐ€์ด์ž
02:10
and actor Robert Lepage.
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๋ฐฐ์šฐ์ธ ๋กœ๋ฒ ๋ฅด ๋ฅดํŒŒ์ฃผ (Robert Lepage) ์ž…๋‹ˆ๋‹ค.
02:11
And I just love this guy.
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์ €๋Š” ์ด ๋ถ„์„ ์•„์ฃผ ์ข‹์•„ํ•ฉ๋‹ˆ๋‹ค.
02:13
I've been in love with this guy since I was a kid.
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์ œ๊ฐ€ ์–ด๋ ธ์„ ๋•Œ๋ถ€ํ„ฐ ์ด ๋ถ„์—๊ฒŒ ํ‘น ๋น ์ ธ์žˆ์—ˆ์ฃ .
02:16
His career I admire a lot.
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์ €๋Š” ๊ทธ์˜ ๊ฒฝ๋ ฅ์„ ๋งค์šฐ ์„ ๋งํ•ฉ๋‹ˆ๋‹ค.
02:19
And I wanted this guy to be involved in my crazy project,
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์ €๋Š” ์ด ๋ถ„์ด ์ €์˜ ๋ง๋„ ์•ˆ ๋˜๋Š” ํ”„๋กœ์ ํŠธ์— ์ฐธ์—ฌํ•ด ์ฃผ์‹œ๊ธธ ๋ฐ”๋žฌ๊ณ ,
02:22
and he was kind enough to lend his image
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๊ทธ ๋ถ„์€ ์นœ์ ˆํ•˜๊ฒŒ๋„ ๊ทธ์˜ ์ด๋ฏธ์ง€๋ฅผ
02:26
to the character of Eugรจne Spaak,
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์œ ์ง„ ์ŠคํŒŒํฌ ์—ญ์— ์ฐจ์šฉํ•˜๋„๋ก ํ—ˆ๋ฝํ•ด ์ฃผ์…จ๋Š”๋ฐ
02:28
who is a cosmologist and artist who seeks relation
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์ด ์ธ๋ฌผ์€ ์šฐ์ฃผ๋ก ์ž์ด์ž ์˜ˆ์ˆ ๊ฐ€๋กœ์„œ
02:32
in between time, space, love, music and women.
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์‹œ๊ฐ„, ๊ณต๊ฐ„, ์‚ฌ๋ž‘, ์Œ์•…, ์—ฌ์ž ์‚ฌ์ด์˜ ๊ด€๊ณ„๋ฅผ ์ •๋ฆฝํ•˜๊ณ ์ž ํ•˜๋Š” ์‚ฌ๋žŒ์ด์—ˆ์ฃ .
02:38
And he was a perfect fit for the part,
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๊ทธ ๋ถ„์€ ์ด ์—ญํ• ์— ์™„๋ฒฝํ•˜๊ฒŒ ๋“ค์–ด๋งž์•˜๋Š”๋ฐ,
02:41
and Robert is actually the one who gave me my first chance.
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๋กœ๋ฒ ๋ฅด๋Š” ์‹ค์ œ๋กœ ์ œ๊ฒŒ ์ฒ˜์Œ์œผ๋กœ ๊ธฐํšŒ๋ฅผ ์ฃผ์‹  ๋ถ„์ด์—ˆ์Šต๋‹ˆ๋‹ค.
02:44
He was the one who believed in me
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๊ทธ๋Š” ์ €๋ฅผ ๋ฏฟ์–ด์ฃผ์…จ๊ณ 
02:47
and encouraged me to do an adaptation of my books
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์ œ ์ฑ…์„ ์˜ํ™”ํ™”ํ•˜๊ณ , ๋Œ€๋ณธ ์ž‘์„ฑ๊ณผ ๊ฐ๋…,
02:50
into a film, and to write, direct,
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์ œ์ž‘๊นŒ์ง€ ์ „๋ถ€ ์ œ๊ฐ€ ํ•˜๋„๋ก
02:53
and produce the film myself.
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์šฉ๊ธฐ๋ฅผ ๋ถ๋‹์•„์ฃผ์‹  ๋ถ„์ด์—ˆ์Šต๋‹ˆ๋‹ค.
02:55
And Robert is actually the very first example
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๋กœ๋ฒ ๋ฅด๋Š” ์‚ฌ์‹ค ์–ด๋–ป๊ฒŒ ์žฅํ•ด๋ฌผ์ด ์ฐฝ์กฐ์„ฑ์„
02:59
of how constraints can boost creativity.
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์ด‰์ง„์‹œํ‚ฌ ์ˆ˜ ์žˆ๋Š”์ง€ ๋ณด์—ฌ์ฃผ๋Š” ์ฒซ ๋ฒˆ์งธ ์˜ˆ์ž…๋‹ˆ๋‹ค.
03:03
Because this guy is the busiest man on the planet.
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์ด ๋ถ„์€ ์ด ์ง€๊ตฌ์ƒ์—์„œ ๊ฐ€์žฅ ๋ฐ”์œ ๋ถ„์ด์‹œ๊ธฐ ๋•Œ๋ฌธ์ด์ฃ .
03:06
I mean, his agenda is booked until 2042,
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์ œ ๋ง์€, ์Šค์ผ€์ค„์ด 2042๋…„๊นŒ์ง€ ๊ฝ‰ ์ฐจ์žˆ์œผ์‹œ๊ณ ,
03:09
and he's really hard to get,
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์ •๋ง ๋ต™๊ธฐ ์–ด๋ ค์šด ๋ถ„์ธ๋ฐ,
03:13
and I wanted him to be in the movie,
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์ €๋Š” ๊ทธ ๋ถ„์ด ์ œ ์˜ํ™”์—์„œ,
03:16
to reprise his role in the movie.
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๊ทธ์˜ ์—ญํ• ์„ ๋งก์•„์ฃผ์‹œ๊ธธ ์›ํ–ˆ์Šต๋‹ˆ๋‹ค.
03:17
But the thing is, had I waited
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ํ•˜์ง€๋งŒ ๋งŒ์•ฝ ์ œ๊ฐ€
03:20
for him until 2042, my film wouldn't be
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๊ทธ๋ฅผ ์œ„ํ•ด 2042๋…„๊นŒ์ง€ ๊ธฐ๋‹ค๋ฆฐ๋‹ค๋ฉด, ์ œ ์˜ํ™”๋Š” ๋” ์ด์ƒ
03:23
a futuristic film anymore, so I just couldn't do that. Right?
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๋ฏธ๋ž˜ ์˜ํ™”๊ฐ€ ์•„๋‹ํ…Œ๋‹ˆ๊นŒ, ๊ทธ๋Ÿด ์ˆ˜ ์—†์—ˆ์Šต๋‹ˆ๋‹ค. ๊ทธ๋ ‡์ฃ ?
03:27
But that's kind of a big problem.
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ํ•˜์ง€๋งŒ ์ด๊ฒƒ์€ ํฐ ๋ฌธ์ œ์˜€์Šต๋‹ˆ๋‹ค.
03:28
How do you get somebody who is too busy
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์˜ํ™”์— ์ถœ์—ฐํ•˜๊ธฐ์—” ๋„ˆ๋ฌด ๋ฐ”์œ ๋ถ„์„
03:32
to star in a movie?
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์–ด๋–ป๊ฒŒ ๋ชจ์‹ค ์ˆ˜ ์žˆ์„๊นŒ์š”?
03:34
Well, I said as a joke in a production meeting --
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์ œ์ž‘ ํšŒ์˜ ๋•Œ ์ €๋Š” ์ด๋Ÿฐ ๋†๋‹ด์„ ํ–ˆ๋Š”๋ฐ,
03:38
and this is a true story, by the way โ€”
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์ด๊ฑด ์ •๋ง ์‹คํ™”์ž…๋‹ˆ๋‹ค.
03:40
I said, "Why don't we turn this guy into a hologram?
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์ €๋Š”, "์ด ๋ถ„์„ ํ™€๋กœ๊ทธ๋žจ์œผ๋กœ ๋ฐ”๊พธ๋ฉด ์–ด๋–จ๊นŒ?
03:42
Because, you know, he is everywhere
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์™œ๋ƒํ•˜๋ฉด, ๊ทธ๋Š” ์ง€๊ตฌ์ƒ์—์„œ ๋™์‹œ๊ฐ„์—
03:45
and nowhere on the planet at the same time,
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๋„์ฒ˜์— ์žˆ์œผ๋ฉด์„œ๋„ ์•„๋ฌด๋ฐ๋„ ์—†๊ณ ,
03:46
and he's an illuminated being in my mind,
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๋‚ด ๋จธ๋ฆฟ์†์—์„œ ๋น›๋‚˜๋Š” ์กด์žฌ์ด๋ฉฐ,
03:49
and he's in between reality and virtual reality,
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ํ˜„์‹ค๊ณผ ๊ฐ€์ƒ ํ˜„์‹ค ์‚ฌ์ด์— ์žˆ๋Š” ์กด์žฌ๊ฑฐ๋“ ,
03:53
so it would make perfect sense
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๊ทธ๋Ÿฌ๋‹ˆ๊นŒ ์ด ์ธ๋ฌผ์„ ํ™€๋กœ๊ทธ๋žจํ™”ํ•˜๋Š” ๊ฒƒ์€
03:55
to turn this guy into a hologram."
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์ด์น˜์— ๋”ฑ ๋งž์ง€."
03:58
Everybody around the table laughed,
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ํ…Œ์ด๋ธ”์— ์•‰์•„ ์žˆ๋˜ ์‚ฌ๋žŒ๋“ค์€ ๋ชจ๋‘ ์›ƒ์—ˆ์ง€๋งŒ,
04:00
but the joke was kind of a good solution,
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์ด ๋†๋‹ด์€ ๊ฝค ๊ดœ์ฐฎ์€ ํ•ด๊ฒฐ์ฑ…์ด์—ˆ๊ณ ,
04:02
so that's what we ended up doing.
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์šฐ๋ฆฌ๋Š” ๊ฒฐ๊ตญ ์ด ๋ฐฉ๋ฒ•์„ ์‚ฌ์šฉํ–ˆ์Šต๋‹ˆ๋‹ค.
04:05
Here's how we did it. We shot Robert with six cameras.
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์šฐ๋ฆฌ๋Š” ์ด๋ ‡๊ฒŒ ํ–ˆ์Šต๋‹ˆ๋‹ค. ๋กœ๋ฒ ๋ฅด๋ฅผ 6๊ฐœ์˜ ์นด๋ฉ”๋ผ๋กœ ์ฐ์—ˆ๋Š”๋ฐ,
04:09
He was dressed in green and he was like
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์ดˆ๋ก์ƒ‰ ์˜ท์„ ์ž…์€ ์ƒํƒœ์—ฌ์„œ
04:11
in a green aquarium.
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๋งˆ์น˜ ์ดˆ๋ก์ƒ‰ ์ˆ˜์กฑ๊ด€์— ์žˆ๋Š” ๊ฒƒ ๊ฐ™์•˜์ฃ .
04:13
Each camera was covering 60 degrees of his head,
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๊ฐ ์นด๋ฉ”๋ผ๊ฐ€ ๊ทธ์˜ ๋จธ๋ฆฌ์˜ 60๋„ ์ •๋„๋ฅผ ์ปค๋ฒ„ํ•ด์„œ,
04:15
so that in post-production we could use
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์ œ์ž‘ ํ›„ ํŽธ์ง‘ ๋•Œ
04:18
pretty much any angle we needed,
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์šฐ๋ฆฌ๊ฐ€ ํ•„์š”ํ•œ ์–ด๋–ค ๊ฐ๋„๋ผ๋„ ์‚ฌ์šฉํ•  ์ˆ˜ ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค.
04:20
and we shot only his head.
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๊ทธ๋ฆฌ๊ณ  ์šฐ๋ฆฌ๋Š” ๊ทธ์˜ ๋จธ๋ฆฌ๋งŒ ์ดฌ์˜ํ–ˆ์–ด์š”.
04:22
Six months later there was a guy on set,
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6๊ฐœ์›” ํ›„ ์„ธํŠธ์žฅ์—๋Š”
04:25
a mime portraying the body,
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๋ชธ์„ ์—ฐ๊ธฐํ•˜๋Š” ๋ฌด์–ธ๊ทน ๋ฐฐ์šฐ๊ฐ€ ์žˆ์–ด์„œ,
04:27
the vehicle for the head.
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๊ทธ ๋จธ๋ฆฌ์— ๋งž๋Š” ๋ชธ์„ ์—ฐ๊ธฐํ–ˆ์Šต๋‹ˆ๋‹ค.
04:29
And he was wearing a green hood
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๊ทธ ๋ถ„์€ ์ดˆ๋ก์ƒ‰ ํ›„๋“œ๋ฅผ ์“ฐ๊ณ  ์žˆ์–ด์„œ
04:32
so that we could erase the green hood in postproduction
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ํŽธ์ง‘ ๋•Œ ์ดˆ๋ก์ƒ‰ ํ›„๋“œ๋ฅผ ์ง€์šฐ๊ณ 
04:36
and replace it with Robert Lepage's head.
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์ด๋ฅผ ๋กœ๋ฒ ๋ฅด ๋ฅดํŒŒ์ฃผ์˜ ๋จธ๋ฆฌ๋กœ ๋Œ€์ฒดํ•  ์ˆ˜ ์žˆ์—ˆ์ฃ .
04:38
So he became like a renaissance man,
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๊ทธ๋ž˜์„œ ๋กœ๋ฒ ๋ฅด๋Š” ๋ฅด๋„ค์ƒ์Šค ์ธ๊ฐ„์ด ๋˜์—ˆ๊ณ ,
04:40
and here's what it looks like in the movie.
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์˜ํ™”์—์„œ๋Š” ์ด๋ ‡๊ฒŒ ํ‘œํ˜„๋˜์—ˆ์Šต๋‹ˆ๋‹ค.
04:42
(Music)
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(์Œ์•…)
04:54
(Video) Robert Lepage: [As usual, Arthur's drawing
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(๋น„๋””์˜ค) ๋กœ๋ฒ ๋ฅด ๋ฅดํŒŒ์ฃผ: [๋Š˜ ๊ทธ๋ ‡๋“ฏ์ด, ์•„์„œ์˜ ๊ทธ๋ฆผ์€
04:56
didn't account for the technical challenges.
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๊ธฐ์ˆ ์  ๋ฌธ์ œ๋ฅผ ์„ค๋ช…ํ•ด์ฃผ์ง€ ๋ชปํ•ด.
04:59
I welded the breech, but the valve is still gaping.
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๋ฐธ๋ธŒ ํ‹ˆ์„ ์šฉ์ ‘ํ–ˆ์ง€๋งŒ, ์—ฌ์ „ํžˆ ๋”ฑ ๋ฒŒ์–ด์ ธ ์žˆ์–ด.
05:03
I tried to lift the pallets to lower the pressure in the sound box,
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์šธ๋ฆผํ†ต์˜ ์••๋ ฅ์„ ๋‚ฎ์ถ”๋ ค๊ณ  ๊น”ํŒ์„ ์˜ฌ๋ฆฌ๋ ค ํ•ด๋ดค์ง€๋งŒ
05:07
but I might have hit a heartstring.
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์‹ฌ๊ธˆ์„ ๊ฑด๋“œ๋ ธ๋‚˜๋ด.
05:11
It still sounds too low.]
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์†Œ๋ฆฌ๊ฐ€ ์—ฌ์ „ํžˆ ๋‚ฎ์•„.]
05:13
Jacques Languirand: [That's normal.
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์Ÿˆํฌ ๋ž‘๊ท€ํ•ญ(Jacques Languirand): [๊ทธ๊ฑด ์ •์ƒ์ด์•ผ.
05:14
The instrument always ends up resembling its model.]
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์•…๊ธฐ๋Š” ๋Š˜ ๊ทธ ๋ชจ๋ธ์„ ๋‹ฎ์•„ ๊ฐ€๊ธฐ ๋งˆ๋ จ์ด์ง€.]
05:17
(Music)
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(์Œ์•…)
05:38
Martin Villeneuve: Now these musical instruments
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๋งˆ๋ฅด๋•ก (Martin Villeneuve): ์ด ํŽธ์ง‘๋ถ„์—์„œ ๋ณด์‹ 
05:41
that you see in this excerpt,
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์ด๋Ÿฐ ์•…๊ธฐ๋“ค์€
05:43
they're my second example of how
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์žฅ์• ๋ฌผ์ด ์ฐฝ์กฐ์„ฑ์„ ์ด‰์ง„์‹œํ‚ค๋Š”
05:46
constraints can boost creativity,
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๋‘ ๋ฒˆ์งธ ์˜ˆ์ธ๋ฐ,
05:48
because I desperately needed these objects in my movie.
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์™œ๋ƒํ•˜๋ฉด ์ œ ์˜ํ™”์—์„œ ์ด๋Ÿฐ ๋ฌผ์ฒด๋“ค์ด ๋งค์šฐ ํ•„์š”ํ–ˆ๊ธฐ ๋•Œ๋ฌธ์ž…๋‹ˆ๋‹ค.
05:51
They are objects of desire.
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์ด๊ฒƒ๋“ค์€ ์š•๋ง์˜ ๋Œ€์ƒ์ž…๋‹ˆ๋‹ค.
05:53
They are imaginary musical instruments.
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์ƒ์ƒ์˜ ์•…๊ธฐ๋“ค์ด์ฃ .
05:56
And they carry a nice story with them.
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๊ฐ ์•…๊ธฐ๋งˆ๋‹ค ๋ฉ‹์ง„ ์ด์•ผ๊ธฐ๋ฅผ ๊ฐ€์ง€๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
05:58
Actually, I knew what these things would look like
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์‚ฌ์‹ค, ์ด๋Ÿฐ ๊ฒƒ๋“ค์ด ์–ด๋–ป๊ฒŒ ์ƒ๊ฒผ์„๊นŒ,
06:02
in my mind for many, many years.
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์ œ ๋จธ๋ฆฟ ์†์—์„œ ๋งค์šฐ ์˜ค๋žซ๋™์•ˆ ๊ณ ๋ฏผํ•ด ์™”์Šต๋‹ˆ๋‹ค.
06:04
But my problem was, I didn't have the money
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ํ•˜์ง€๋งŒ ์ œ ๋ฌธ์ œ๋Š”, ์ด๊ฒƒ๋“ค์„ ์‚ด ๋ˆ์ด
06:08
to pay for them. I couldn't afford them.
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์—†์—ˆ๋‹ค๋Š” ๊ฒƒ์ด์—ˆ์–ด์š”. ์ œ๊ฐ€ ๊ฐ๋‹นํ•  ์ˆ˜ ์—†๋Š” ๋ฌผ๊ฑด์ด์—ˆ์ฃ .
06:11
So that's kind of a big problem too.
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์ด๊ฑด ๋งค์šฐ ํฐ ๋ฌธ์ œ์ด๊ธฐ๋„ ํ–ˆ์–ด์š”.
06:14
How do you get something that you can't afford?
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์‚ด ์ˆ˜ ์—†๋Š” ๊ฒƒ์„ ์–ด๋–ป๊ฒŒ ์–ป์„ ์ˆ˜ ์žˆ์„๊นŒ์š”?
06:17
And, you know, I woke up one morning with a pretty good idea.
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์ €๋Š” ์–ด๋Š๋‚  ์•„์นจ ๋งค์šฐ ์ข‹์€ ์ƒ๊ฐ์ด ๋‚ฌ์–ด์š”.
06:21
I said, "What if I have somebody else pay for them?"
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์ €๋Š” ๋งํ–ˆ์ฃ , "๋‹ค๋ฅธ ์‚ฌ๋žŒ์ด ๋ˆ์„ ์ง€๋ถˆํ•˜๊ฒŒ ํ•˜๋ฉด ์–ด๋–จ๊นŒ?"
06:25
(Laughter)
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(์›ƒ์Œ)
06:28
But who on Earth would be interested
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ํ•˜์ง€๋งŒ ์ด ์„ธ์ƒ์— ๊ทธ ๋ˆ„๊ฐ€ ์—ฌ์„ฑ์˜ ๋ชธ์—์„œ ์˜๊ฐ์„ ์–ป์€
06:32
by seven not-yet-built musical instruments
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์ผ๊ณฑ ๊ฐœ์˜ ์•„์ง ๋งŒ๋“ค์–ด์ง€์ง€๋„ ์•Š์€ ์•…๊ธฐ๋“ค์—
06:35
inspired by women's bodies?
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๊ด€์‹ฌ์ด ์žˆ์„๊นŒ์š”?
06:37
And I thought of Cirque du Soleil in Montreal,
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์ €๋Š” ๋ชฌํŠธ๋ฆฌ์˜ฌ์˜ ํƒœ์–‘์˜ ์„œ์ปค์Šค (Cirque du Soleil)๋ฅผ ๋– ์˜ฌ๋ ธ๋Š”๋ฐ
06:40
because who better to understand the kind of
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์ œ๊ฐ€ ์Šคํฌ๋ฆฐ์— ์˜ฌ๋ฆฌ๊ณ  ์‹ถ์–ด ํ•˜๋Š”
06:43
crazy poetry that I wanted to put on screen?
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์ด๋Ÿฌํ•œ ๋น„์ •์ƒ์ ์ธ ์‹œ๋ฅผ ๋‹ค๋ฅธ ๋ˆ„๊ฐ€ ๋” ์ž˜ ์ดํ•ดํ•˜๊ฒ ์–ด์š”?
06:46
So I found my way to Guy Lalibertรฉ, Cirque du Soleil's CEO,
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์ €๋Š” ํƒœ์–‘์˜ ์„œ์ปค์Šค CEO์ธ ๊ธฐ ๋ผ๋ฆฌ๋ฒ ๋ฅด๋–ผ (Guy Lalibertรฉ)๋ฅผ ๋งŒ๋‚  ์ˆ˜ ์žˆ๋„๋ก ๋…ธ๋ ฅํ–ˆ๊ณ ,
06:49
and I presented my crazy idea to him
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์ œ ๋น„์ •์ƒ์ ์ธ ์•„์ด๋””์–ด๋ฅผ ๊ทธ์—๊ฒŒ ์„ ๋ณด์˜€์Šต๋‹ˆ๋‹ค.
06:52
with sketches like this and visual references,
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์ด๋Ÿฐ ์Šค์ผ€์น˜์™€ ์‹œ๊ฐ์ž๋ฃŒ๋“ค๊ณผ ํ•จ๊ป˜ ๋ง์ด์ฃ .
06:55
and something pretty amazing happened.
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๊ทธ๋Ÿฌ์ž ๋†€๋ผ์šด ์ผ์ด ์ผ์–ด๋‚ฌ์Šต๋‹ˆ๋‹ค.
06:58
Guy was interested by this idea
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๊ทธ๊ฐ€ ์ด ์•„์ด๋””์–ด์— ๊ด€์‹ฌ์„ ๋ณด์ธ ๊ฒƒ์ด์ฃ .
07:00
not because I was asking for his money,
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์ œ๊ฐ€ ํˆฌ์ž๋ฅผ ๋ถ€ํƒํ•ด์„œ๊ฐ€ ์•„๋‹ˆ๋ผ,
07:03
but because I came to him with a good idea
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์ œ๊ฐ€ ์ข‹์€ ์•„์ด๋””์–ด๋ฅผ ๊ฐ€์ง€๊ณ  ๊ทธ์—๊ฒŒ ๊ฐ”๊ธฐ ๋•Œ๋ฌธ์ด์—ˆ์Šต๋‹ˆ๋‹ค.
07:07
in which everybody was happy.
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๊ทธ๊ฑธ๋กœ ๋ชจ๋‘๊ฐ€ ํ–‰๋ณตํ•ด ํ–ˆ์ฃ .
07:08
It was kind of a perfect triangle
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์ด๋Š” ์™„๋ฒฝํ•œ ์‚ผ๊ฐ๊ด€๊ณ„๋กœ
07:11
in which the art buyer was happy
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์˜ˆ์ˆ  ํ›„์›์ž๋Š”
07:14
because he got the instruments at a cheaper price,
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์•…๊ธฐ๋ฅผ ์‹ผ ๊ฐ€๊ฒฉ์— ์–ป์„ ์ˆ˜ ์žˆ์–ด์„œ ํ–‰๋ณตํ•˜๊ณ ,
07:17
because they weren't even made.
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์™œ๋ƒํ•˜๋ฉด ๊ทธ ์•…๊ธฐ๋“ค์€ ์‚ฌ์‹ค ๋งŒ๋“ค์–ด์ง€์ง€๋„ ์•Š์•˜์œผ๋‹ˆ๊นŒ์š”.
07:19
He took a leap of faith.
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๊ทธ๊ฐ€ ์—„์ฒญ๋‚œ ์‹ ๋ขฐ๋ฅผ ๋ณด์ธ๊ฑฐ์ฃ .
07:20
And the artist, Dominique Engel, brilliant guy,
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๊ทธ๋ฆฌ๊ณ  ์˜ˆ์ˆ ๊ฐ€ ๋„๋ฏธ๋‹‰ ์—ฅ๊ฒ”์€ ๋˜‘๋˜‘ํ•œ ์นœ๊ตฌ์ธ๋ฐ,
07:24
he was happy too because he had a dream project
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๊ทธ ๋˜ํ•œ 1๋…„๋™์•ˆ ์ผํ•  ์ˆ˜ ์žˆ๋Š” ๊ฟˆ์˜ ํ”„๋กœ์ ํŠธ๊ฐ€ ์ƒ๊ฒจ์„œ
07:27
to work on for a year.
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ํ–‰๋ณตํ–ˆ์Šต๋‹ˆ๋‹ค.
07:29
And obviously I was happy because I got the instruments
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๊ทธ๋ฆฌ๊ณ  ๋ฌผ๋ก  ์ €๋„ ์‹œ๋„ํ•ด์™”๋˜ ๊ฒƒ์ฒ˜๋Ÿผ
07:32
in my film for free, which was kind of what I tried to do.
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์ด ์•…๊ธฐ๋ฅผ ์˜ํ™”์— ๊ณต์งœ๋กœ ์‚ฌ์šฉํ•  ์ˆ˜ ์žˆ์–ด์„œ ํ–‰๋ณตํ–ˆ์ฃ .
07:37
So here they are.
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๊ทธ๋ž˜์„œ ์ด๋ ‡๊ฒŒ ์™„์„ฑ๋˜์—ˆ์Šต๋‹ˆ๋‹ค.
07:39
And my last example of how constraints
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๊ทธ๋ฆฌ๊ณ  ์žฅ์• ๋ฌผ์ด ์ฐฝ์กฐ์„ฑ์„ ์ด‰์ง„ํ•œ๋‹ค๋Š”
07:42
can boost creativity
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์ œ ๋งˆ์ง€๋ง‰ ์˜ˆ๋Š”
07:44
comes from the green,
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์ดˆ๋ก์ƒ‰์ธ๋ฐ,
07:48
because this is a weird color, a crazy color,
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์ด๊ฒƒ์ด ์ด์ƒํ•˜๊ณ  ๋น„์ •์ƒ์ ์ธ ์ƒ‰๊น”์ด๊ณ 
07:51
and you need to replace the green screens eventually
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์ดˆ๋ก์ƒ‰ ์Šคํฌ๋ฆฐ์€ ๊ฒฐ๊ตญ ๋‹ค๋ฅธ ๊ฒƒ์œผ๋กœ ๋Œ€์ฒด๋˜์–ด์•ผ ํ•˜๋ฉฐ
07:54
and you must figure that out sooner rather than later.
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์ด๊ฑด ์žฌ๋นจ๋ฆฌ ์•Œ์•„์ฐจ๋ฆฌ๋Š” ๊ฒƒ์ด ๋‚ซ๊ธฐ ๋•Œ๋ฌธ์ž…๋‹ˆ๋‹ค.
07:57
And I had, again, pretty much, ideas in my mind
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๊ทธ๋ฆฌ๊ณ  ์ด๋ฒˆ์—๋„ ์ œ ๋จธ๋ฆฟ์†์— ์•„์ด๋””์–ด๊ฐ€ ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค.
08:01
as to what the world would be,
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๋ฏธ๋ž˜๊ฐ€ ์–ด๋–จ์ง€์— ๋Œ€ํ•œ ์ƒ๊ฐ์ด์—ˆ์ฃ .
08:03
but then again I turned to my childhood imagination
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ํ•˜์ง€๋งŒ ์ €๋Š” ์ด๋ฒˆ์—๋„ ์–ด๋ฆด์  ์ƒ์ƒ๋ ฅ์— ์˜์กดํ•ด์„œ
08:09
and went to the work of Belgian comic book master
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๋ฒจ๊ธฐ์— ๋งŒํ™” ๊ฑฐ์žฅ ํ”„๋ž‘์Šค์™€ ์Šคํ€ดํ„ด์˜ (Franรงois Schuiten)
08:12
Franรงois Schuiten in Belgium.
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์ž‘ํ’ˆ์„ ์ฐพ์•˜์Šต๋‹ˆ๋‹ค.
08:15
And this guy is another guy I admire a lot,
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์ด ๋ถ„์€ ์ œ๊ฐ€ ๋งค์šฐ ์กด๊ฒฝํ•˜๋Š” ๋˜ ๋‹ค๋ฅธ ๋ถ„์œผ๋กœ
08:18
and I wanted him to be involved in the movie
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์ œ ์˜ํ™”์—์„œ ๊ทธ ๋ถ„์ด
08:21
as a production designer.
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๋ฏธ์ˆ  ์ด๊ฐ๋…์„ ๋งก์•„ ์ฃผ์‹œ๊ธฐ๋ฅผ ๋ฐ”๋žฌ์Šต๋‹ˆ๋‹ค.
08:23
But people told me, you know, Martin, it's impossible,
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ํ•˜์ง€๋งŒ ์‚ฌ๋žŒ๋“ค์€ ์ œ๊ฒŒ '๋งˆ๋ฅด๋•ก, ๊ทธ๊ฑด ๋ถˆ๊ฐ€๋Šฅํ•ด.
08:25
the guy is too busy and he will say no.
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๊ทธ ๋ถ„์€ ๋„ˆ๋ฌด ๋ฐ”์˜์‹œ๊ณ  ์•ˆ๋œ๋‹ค๊ณ  ํ•˜์‹ค๊ฑฐ์•ผ.'๋ผ๊ณ  ํ–ˆ์–ด์š”.
08:28
Well, I said, you know what, instead of mimicking his style,
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์ €๋Š” ๋งํ–ˆ์Šต๋‹ˆ๋‹ค. "๊ทธ๊ฑฐ ์•Œ์•„? ๊ทธ ๋ถ„์˜ ์Šคํƒ€์ผ์„ ํ‰๋‚ด๋‚ด๊ธฐ ๋ณด๋‹จ
08:32
I might as well call the real guy and ask him,
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๊ทธ ๋ถ„์—๊ฒŒ ์ง์ ‘ ์ „ํ™”๋ฅผ ํ•ด์„œ ๋ฌผ์–ด๋ณด๊ฒ ์–ด."
08:34
and I sent him my books,
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๊ทธ๋ฆฌ๊ณ  ์ €๋Š” ์ œ ์ฑ…๋“ค์„ ๊ทธ์—๊ฒŒ ๋ณด๋ƒˆ๊ณ ,
08:36
and he answered that he was interested
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๊ทธ ๋ถ„์€ ์ œ ์˜ํ™”์—์„œ ํ•จ๊ป˜ ์ผํ•˜๋Š”๋ฐ ๊ด€์‹ฌ์ด ์žˆ๋‹ค๊ณ 
08:38
in working on the film with me
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๋‹ต๋ณ€์„ ์ฃผ์…จ์Šต๋‹ˆ๋‹ค.
08:40
because he could be a big fish in a small aquarium.
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์™œ๋ƒํ•˜๋ฉด ๊ทธ ๋ถ„์ด ์ž‘์€ ์ˆ˜์กฑ๊ด€์—์„œ ํฐ ๋ฌผ๊ณ ๊ธฐ๊ฐ€ ๋  ์ˆ˜ ์žˆ์—ˆ๊ธฐ ๋•Œ๋ฌธ์ž…๋‹ˆ๋‹ค.
08:44
In other words, there was space for him to dream with me.
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๋‹ค์‹œ ๋งํ•ด, ๊ทธ๊ฐ€ ์ €์™€ ํ•จ๊ป˜ ๊ฟˆ์„ ๊ฟ€ ๊ณต๊ฐ„์ด ์žˆ์—ˆ๋˜๊ฑฐ์ฃ .
08:48
So here I was with one of my childhood heroes,
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๊ทธ๋ž˜์„œ ์ œ ์–ด๋ฆฐ์‹œ์ ˆ ์˜์›…๋“ค ์ค‘ ํ•œ ๋ถ„์ด,
08:51
drawing every single frame that's in the film
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์˜ํ™”์— ์žˆ๋Š” ๋ชจ๋“  ํ”„๋ ˆ์ž„์„ ๊ทธ๋ ค์„œ
08:54
to turn that into Montreal in the future.
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๋ฏธ๋ž˜์˜ ๋ชฌํŠธ๋ฆฌ์˜ฌ๋กœ ๋งŒ๋“ค์–ด ์ฃผ์‹œ๊ฒŒ ๋˜์—ˆ์Šต๋‹ˆ๋‹ค.
08:57
And it was an amazing collaboration
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์ œ๊ฐ€ ์กด๊ฒฝํ•˜๋Š” ํ›Œ๋ฅญํ•œ ์˜ˆ์ˆ ๊ฐ€์™€ ํ•จ๊ป˜ํ•œ
08:59
to work with this great artist whom I admire.
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๋ฉ‹์ง„ ํ•ฉ์ž‘์ด์—ˆ์ฃ .
09:02
But then, you know, eventually you have to turn
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ํ•˜์ง€๋งŒ ์•„์‹œ๋‹ค์‹œํ”ผ ์ €๋Š”
09:06
all these drawings into reality.
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์ด ๋ชจ๋“  ๊ทธ๋ฆผ์„ ํ˜„์‹ค๋กœ ๋ฐ”๊พธ์–ด์•ผ ํ–ˆ์Šต๋‹ˆ๋‹ค.
09:08
So, again, my solution was to aim
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๊ทธ๋ž˜์„œ ๋˜ ๋‹ค์‹œ ์ œ ํ•ด๊ฒฐ์ฑ…์€
09:11
for the best possible artist that I could think of.
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์ œ๊ฐ€ ์ƒ๊ฐํ•  ์ˆ˜ ์žˆ๋Š” ์ตœ๊ณ ์˜ ์˜ˆ์ˆ ๊ฐ€๋ฅผ ๋– ์˜ฌ๋ฆฌ๋Š” ๊ฒƒ์ด์—ˆ์ฃ .
09:14
And there's this guy in Montreal, another Quebecois
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๋ชฌํŠธ๋ฆฌ์˜ฌ์—๋Š” ์นด๋ฅผ๋กœ์Šค ๋ชฌ์กด(Carlos Monzon)์ด๋ผ๋Š”
09:17
called Carlos Monzon, and he's a very good VFX artist.
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ํ€˜๋ฒก ์ถœ์‹ ์˜ ํ›Œ๋ฅญํ•œ VFX ์˜ˆ์ˆ ๊ฐ€๊ฐ€ ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค.
09:21
This guy had been lead compositor on such films
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์ด ๋ถ„์€
09:25
as "Avatar" and "Star Trek" and "Transformers,"
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"์•„๋ฐ”ํƒ€", "์Šคํƒ€ ํŠธ๋ ‰", "ํŠธ๋žœ์Šคํฌ๋จธ" ๋“ฑ์˜ ์˜ํ™”์™€
09:28
and other unknown projects like this,
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์ด ์˜ํ™”์ฒ˜๋Ÿผ ์•Œ๋ ค์ง€์ง€ ์•Š์€ ํ”„๋กœ์ ํŠธ๋“ค์—์„œ ํ™œ์•ฝํ•˜์…จ๋˜ ๋ถ„์ด์—ˆ์ฃ .
09:30
and I knew he was the perfect fit for the job,
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์ €๋Š” ์ด ๋ถ„์ด ์ด ์ผ์— ์™„๋ฒฝํ•˜๊ฒŒ ๋“ค์–ด๋งž๋Š”๋‹ค๋Š” ๊ฒƒ์„ ์•Œ๊ณ  ์žˆ์—ˆ๊ณ ,
09:33
and I had to convince him,
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๊ทธ๋ถ„์„ ์„ค๋“ํ–ˆ๊ณ ,
09:34
and, instead of working on the next Spielberg movie,
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๊ทธ๋ถ„์€ ์ฐจ๊ธฐ ์Šคํ•„๋ฒ„๊ทธ ์˜ํ™” ๋Œ€์‹ 
09:38
he accepted to work on mine.
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์ œ ์˜ํ™”๋ฅผ ์œ„ํ•ด ์ผํ•˜๋Š” ๊ฒƒ์„ ์ˆ˜๋ฝํ•ด ์ฃผ์…จ์Šต๋‹ˆ๋‹ค.
09:40
Why? Because I offered him a space to dream.
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์™œ์ผ๊นŒ์š”? ์ œ๊ฐ€ ๊ทธ๋ถ„์—๊ฒŒ ๊ฟˆ์„ ๊ฟ€ ์ˆ˜ ์žˆ๋Š” ๊ณต๊ฐ„์„ ์ œ๊ณตํ–ˆ๊ธฐ ๋•Œ๋ฌธ์ด์ฃ .
09:44
So if you don't have money to offer to people,
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์‚ฌ๋žŒ๋“ค์—๊ฒŒ ์ œ๊ณตํ•  ๋ˆ์ด ์—†๋‹ค๋ฉด
09:47
you must strike their imagination with something
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์—ฌ๋Ÿฌ๋ถ„์€ ๊ทธ๋“ค์˜ ์ƒ์ƒ๋ ฅ์„
09:50
as nice as you can think of.
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์—ฌ๋Ÿฌ๋ถ„์ด ์ƒ๊ฐํ•ด ๋‚ผ ์ˆ˜ ์žˆ๋Š” ์ตœ์ƒ์˜ ๊ฒƒ์œผ๋กœ ์ž๊ทนํ•ด์•ผ ํ•ฉ๋‹ˆ๋‹ค.
09:53
So this is what happened on this movie,
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๊ทธ๊ฒƒ์ด ์ด ์˜ํ™”์—์„œ ์ผ์–ด๋‚ฌ๊ณ ,
09:55
and that's how it got made,
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๊ทธ๊ฒƒ์ด ์–ด๋–ป๊ฒŒ ์ด ์˜ํ™”๊ฐ€ ๋งŒ๋“ค์–ด์กŒ๋Š”์ง€ ๋ณด์—ฌ์ค๋‹ˆ๋‹ค.
09:57
and we went to this very nice postproduction company
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๋˜ ์šฐ๋ฆฌ๋Š” ์•„์ฃผ ์ข‹์€ ํŽธ์ง‘ ํšŒ์‚ฌ์ธ
10:00
in Montreal called Vision Globale,
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๋ชฌํŠธ๋ฆฌ์˜ฌ์˜ ๋น„์ง€์˜จ ๊ธ€๋กœ๋ฐœ (Vision Globale)๋กœ ๊ฐ”๊ณ ,
10:02
and they lent their 60 artists to work full time
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๊ทธ๋“ค์€ 6๊ฐœ์›”๊ฐ„ ์ด ๋น„์ •์ƒ์ ์ธ ์˜ํ™”๋ฅผ ๋งŒ๋“ค ์ˆ˜ ์žˆ๋„๋ก
10:06
for six months to do this crazy film.
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60๋ช…์˜ ์˜ˆ์ˆ ๊ฐ€๋“ค์„ ํ’€ํƒ€์ž„์œผ๋กœ ๋นŒ๋ ค์ฃผ์—ˆ์Šต๋‹ˆ๋‹ค.
10:09
So I want to tell you that, if you have some crazy ideas
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์ œ๊ฐ€ ์—ฌ๋Ÿฌ๋ถ„๊ป˜ ๋ง์”€๋“œ๋ฆฌ๊ณ  ์‹ถ์€ ๊ฒƒ์€, ์—ฌ๋Ÿฌ๋ถ„ ๋จธ๋ฆฟ์†์— ๋น„์ •์ƒ์ ์ธ ์•„์ด๋””์–ด๊ฐ€ ์žˆ๊ณ ,
10:14
in your mind, and that people tell you
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์‚ฌ๋žŒ๋“ค์ด ์—ฌ๋Ÿฌ๋ถ„์—๊ฒŒ
10:16
that it's impossible to make,
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๊ทธ๊ฑด ๋ถˆ๊ฐ€๋Šฅํ•ด๋ผ๊ณ  ๋งํ•œ๋‹ค๋ฉด,
10:17
well, that's an even better reason to want to do it,
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๊ทธ๋Ÿฐ ๋ฐ˜๋Œ€๋Š” ๊ทธ๊ฑธ ํ•ด ๋ณผ๋งŒํ•œ ๋” ์ข‹์€ ์ด์œ ๊ฐ€ ๋œ๋‹ค๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
10:20
because people have a tendency
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์™œ๋ƒํ•˜๋ฉด ์‚ฌ๋žŒ์€
10:22
to see the problems rather than the final result,
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์ตœ์ข… ๊ฒฐ๊ณผ๋ณด๋‹ค๋Š” ๋ฌธ์ œ๋ฅผ ๋ณด๋Š” ๊ฒฝํ–ฅ์ด ์žˆ๊ฑฐ๋“ ์š”.
10:25
whereas if you start to deal with problems
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ํ•˜์ง€๋งŒ ์—ฌ๋Ÿฌ๋ถ„์ด ์ผ๋‹จ ๋ฌธ์ œ๋ฅผ ํ•ด๊ฒฐํ•˜๊ธฐ ์‹œ์ž‘ํ•˜๋ฉด
10:28
as being your allies rather than your opponents,
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์—ฌ๋Ÿฌ๋ถ„์˜ ์ ๋ณด๋‹ค๋Š” ๋™์ง€๊ฐ€ ๋˜์–ด ์ค๋‹ˆ๋‹ค.
10:31
life will start to dance with you
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๊ทธ๋ฆฌ๊ณ  ์ธ์ƒ์€ ์—ฌ๋Ÿฌ๋ถ„๊ณผ ํ•จ๊ป˜
10:33
in the most amazing way.
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์•„์ฃผ ๋ฉ‹์ง€๊ฒŒ ์ถค์ถ”๊ธฐ ์‹œ์ž‘ํ•  ๊ฒƒ์ž…๋‹ˆ๋‹ค.
10:35
I have experienced it.
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์ €๋Š” ์ด ๊ฒƒ์„ ๊ฒฝํ—˜ํ–ˆ์Šต๋‹ˆ๋‹ค.
10:37
And you might end up doing some crazy projects,
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๊ทธ๋ฆฌ๊ณ  ์—ฌ๋Ÿฌ๋ถ„๋„ ๋น„์ •์ƒ์ ์ธ ํ”„๋กœ์ ํŠธ๋ฅผ ํ•˜์‹œ๊ฒŒ ๋ ์ง€๋„ ๋ชจ๋ฅด๊ณ ,
10:40
and who knows, you might even end up
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๋˜ ํ˜น์‹œ ์•Œ์•„์š”? ์—ฌ๋Ÿฌ๋ถ„์ด
10:43
going to Mars.
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ํ™”์„ฑ์— ๊ฐ€์‹œ๊ฒŒ ๋ ์ง€๋„ ๋ชจ๋ฅด์ฃ .
10:45
Thank you.
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๊ฐ์‚ฌํ•ฉ๋‹ˆ๋‹ค.
10:47
(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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