Rob Legato: The art of creating awe

248,929 views ใƒป 2012-08-17

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: K Bang ๊ฒ€ํ† : Woo Hwang
00:15
I worked on a film called "Apollo 13,"
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์ €๋Š” "์•„ํด๋กœ 13ํ˜ธ"๋ผ๋Š” ์˜ํ™”์˜ ์ž‘์—…์„ ํ–ˆ์Šต๋‹ˆ๋‹ค.
00:17
and when I worked on this film, I discovered something
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๊ทธ ์ž‘์—…์„ ํ•˜๋ฉด์„œ, ์ €๋Š” ์šฐ๋ฆฌ์˜ ๋‘๋‡Œ๊ฐ€ ์–ด๋–ป๊ฒŒ ์ž‘์šฉํ•˜๋Š”์ง€์— ๋Œ€ํ•œ
00:19
about how our brains work, and how our brains work
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๋ญ”๊ฐ€๋ฅผ ์•Œ๊ฒŒ ๋์Šต๋‹ˆ๋‹ค. ๊ทธ๊ฒƒ์€
00:22
is that, when we're sort of infused with
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์šฐ๋ฆฌ๊ฐ€ ์—ด์ •์ด๋ผ๋“ ๊ฐ€ ๊ฒฝ์™ธ์‹ฌ, ๊ทธ๋ƒฅ ์„ ํ˜ธํ•˜๊ฑฐ๋‚˜,
00:24
either enthusiasm or awe or fondness or whatever,
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์•„๋‹ˆ๋ฉด ๋ญ๊ฐ€ ๋๋“ , ์ด๋Ÿฐ ๊ฒƒ๋“ค๊ณผ ๊ต๊ฐํ•˜๊ฒŒ ๋˜๋ฉด
00:28
it changes and alters our perception of things.
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์‚ฌ๋ฌผ์— ๋Œ€ํ•œ ์šฐ๋ฆฌ์˜ ์ธ์‹์ด ๋ฐ”๋€Œ๊ฒŒ ๋œ๋‹ค๋Š” ๊ฒ๋‹ˆ๋‹ค.
00:31
It changes what we see. It changes what we remember.
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์šฐ๋ฆฌ๊ฐ€ ๋ณด๋Š” ๊ฒƒ์„ ๋ฐ”๊พธ๊ณ , ๊ธฐ์–ตํ•˜๋Š” ๊ฒƒ๋„ ๋ฐ”๊พธ์ฃ .
00:33
And as an experiment, because I dauntingly create
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ํ•˜๋‚˜์˜ ์‹คํ—˜์œผ๋กœ,
00:36
a task for myself of recreating a Saturn V launch
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์ €๋Š” ์ด ์˜ํ™”์—์„œ ์ƒˆํ„ด 5ํ˜ธ์˜ ๋ฐœ์‚ฌ ์žฅ๋ฉด์„
00:40
for this particular movie, because I put it out there,
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๋งŒ๋“ค์–ด๋‚ด๋Š” ์ž‘์—…์„ ๋„ˆ๋ฌด ์ž์‹ ์žˆ๊ฒŒ ํ–ˆ๊ธฐ ๋•Œ๋ฌธ์—
00:44
I felt a little nervous about it, so I need to do an experiment
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์ €๋Š” ์•ฝ๊ฐ„ ๊ฑฑ์ •์ด ๋˜์—ˆ์ฃ . ๊ทธ๋ž˜์„œ ์‹คํ—˜์„ ํ•ด๋ณด๊ธฐ๋กœ ๋งˆ์Œ๋จน๊ณ 
00:46
and bring a group of people like this in a projection room
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์‚ฌ๋žŒ๋“ค์„ ์˜์‚ฌ๊ธฐ๊ฐ€ ์žˆ๋Š” ๋ฐฉ์— ๋ชจ์•„์„œ
00:49
and play this stock footage, and when I played this
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์ด ๋†€๋ผ์šด ๊ด‘๊ฒฝ์„ ๋ณด์—ฌ์คฌ์–ด์š”.
00:52
stock footage, I simply wanted to find out
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์ œ๊ฐ€ ์ด ์žฅ๋ฉด์„ ๋ณด์—ฌ์ฃผ๋ฉด์„œ, ์•„์ฃผ ๊ฐ„๋‹จํ•˜๊ฒŒ ์‚ฌ๋žŒ๋“ค์ด ๋ญ˜ ๊ธฐ์–ตํ•˜๋Š”์ง€
00:55
what people remembered, what was memorable about it?
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๊ธฐ์–ต์— ๋‚จ๋Š”๊ฒŒ ๋ญ”์ง€ ์•Œ๊ณ  ์‹ถ์—ˆ์–ด์š”.
00:58
What should I actually try to replicate?
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์ด๋Ÿฐ ๊ด‘๊ฒฝ์„ ๋˜์‚ด๋ ค ๋‚ด๋ ค๋ฉด ์–ด๋–ป๊ฒŒ ํ•ด์•ผํ• ๊นŒ?
01:00
What should I try to emulate to some degree?
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์–ด๋Š ์ •๋„ ๋น„์Šทํ•˜๊ฒŒ ๋งŒ๋“ค๋ ค๋ฉด ๋ญ˜ ํ•ด์•ผํ•˜๋‚˜?
01:04
So this is the footage that I was showing everybody.
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์ด๊ฒƒ์ด ์‚ฌ๋žŒ๋“ค์—๊ฒŒ ๋ณด์—ฌ์ค€ ์žฅ๋ฉด์ž…๋‹ˆ๋‹ค.
01:07
And what I discovered is, because of the nature
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์ œ๊ฐ€ ์•Œ์•„๋‚ธ ๊ฒƒ์€, ์žฅ๋ฉด์˜ ํŠน์„ฑ์ƒ
01:10
of the footage and the fact that we're doing this film,
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๊ทธ๋ฆฌ๊ณ  ์šฐ๋ฆฌ๊ฐ€ ์ด ์˜ํ™” ์ž‘์—…์„ ํ•˜๊ณ  ์žˆ๋‹ค๋Š” ์‚ฌ์‹ค ๋•Œ๋ฌธ์—
01:12
there was an emotion that was built into it
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๊ทธ ์•ˆ์—๋Š” ์–ด๋Š ์ •๋„์˜ ๊ฐ์ •์ด ๊ฐœ์ž…๋˜์–ด ์žˆ์—ˆ์–ด์š”.
01:14
and our collective memories of what this launch meant to us
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๊ฒŒ๋‹ค๊ฐ€ ๋ฐœ์‚ฌ์— ๋Œ€ํ•œ ๋Š๋‚Œ์ด ๊ผญ ์ด๋Ÿด๊ฑฐ๋‹ค๋ผ๋“ ๊ฐ€
01:17
and all these various things.
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๊ทธ๋Ÿฐ ๊ฑธ ๋ถ€๋ถ„์ ์œผ๋กœ ๊ธฐ์–ตํ•˜๊ณ  ์žˆ์—ˆ์ฃ .
01:19
When I showed it, and I asked, immediately after
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์ œ๊ฐ€ ์ € ์žฅ๋ฉด์„ ๋ณด์—ฌ์คฌ์„ ๋•Œ, ์žฅ๋ฉด์ด ๋๋‚˜์ž ๋งˆ์ž,
01:21
the screening was over, what they thought of it,
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์‚ฌ๋žŒ๋“ค์ด ์žฅ๋ฉด์— ๋Œ€ํ•ด ๋ญ˜ ์ƒ๊ฐํ–ˆ๋Š”์ง€,
01:24
what was your memorable shots, they changed them.
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๊ธฐ์–ต์— ๋‚จ๋Š” ์žฅ๋ฉด์€ ๋ฌด์—‡์ธ์ง€ ๋ฌผ์—ˆ์„ ๋•Œ, ์‚ฌ๋žŒ๋“ค์€ ๊ทธ ๋ชจ๋“ ๊ฑธ ๋ฐ”๊พธ์–ด ๋ฒ„๋ ธ์–ด์š”.
01:26
They were -- had camera moves on them.
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๊ทธ ์‚ฌ๋žŒ๋“ค์€ -- ๊ทธ ์‚ฌ๋žŒ๋“ค์€ ์นด๋ฉ”๋ผ๋กœ ์ž‘์—…์„ ํ•˜๋Š” ๋“ฏ ํ–ˆ์–ด์š”.
01:28
They had all kinds of things. Shots were combined,
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๊ทธ ์‚ฌ๋žŒ๋“ค์€ ์•„์ฃผ ์—ฌ๋Ÿฌ๊ฐ€์ง€ ์ƒ๊ฐ์„ ๊ฐ€์กŒ๋”๊ตฐ์š”.
01:31
and I was just really curious, I mean, what the hell
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์žฅ๋ฉด์ด ์„ž์—ฌ ์žˆ๊ธฐ๋„ ํ•˜๊ณ , ์ •๋ง ์ด์ƒํ•˜๋”๊ตฐ์š”.
01:34
were you looking at just a few minutes ago
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์ œ ์ด์•ผ๊ธฐ๋Š”, ๋„๋Œ€์ฒด ๊ฒจ์šฐ ๋ช‡ ๋ถ„์ „์— ๋ญ˜ ๋ณธ๊ฑด์ง€,
01:35
and how come, how'd you come up with this sort of description?
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์–ด๋–ป๊ฒŒ ์ด๋ ‡๊ฒŒ ํ‘œํ˜„ํ•  ์ˆ˜ ์žˆ์„๊นŒ ํ•˜๊ณ  ์ •๋ง ๊ถ๊ธˆํ–ˆ์–ด์š”.
01:39
And what I discovered is, what I should do is not actually
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์ œ๊ฐ€ ๋ฐœ๊ฒฌํ•œ ์ ์€, ๋‚ด๊ฐ€ ํ•  ์ผ์€ ์‚ฌ๋žŒ๋“ค์ด ๋ณธ ๊ฑธ ์žฌํ˜„ํ•˜๊ธฐ ๋ณด๋‹ค
01:43
replicate what they saw, is replicate what they remembered.
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๊ทธ๋“ค์ด ๊ธฐ์–ตํ•˜๋Š”๊ฑธ ์žฌํ˜„ํ•ด์•ผ๊ฒ ๋‹ค๋Š” ๊ฒƒ์ด์—ˆ์ฃ .
01:47
So this is our footage of the launch, based on, basically,
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์—ฌ๊ธฐ ์ด๊ฒƒ์ด ๋ฐœ์‚ฌ ์žฅ๋ฉด์ž…๋‹ˆ๋‹ค. ๊ธฐ๋ณธ์ ์œผ๋กœ ๋…ธํŠธ์— ์ ์€
01:51
taking notes, asking people what they thought, and then
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๋‚ด์šฉ์— ๊ธฐ์ดˆํ•ด์„œ, ์‚ฌ๋žŒ๋“ค์ด ์–ด๋–ค ์ƒ๊ฐ์„ ํ–ˆ๋Š”์ง€,
01:53
the combination of all the different shots and all
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๊ทธ๋ฆฌ๊ณ  ๋‹ค๋ฅธ ์—ฌ๋Ÿฌ๊ฐ€์ง€ ์žฅ๋ฉด๋“ค์„ ํ•ฉ์„ฑํ•˜๊ณ 
01:56
the different things put together created their sort of
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๋‹ค์–‘ํ•œ ๋‚ด์šฉ์„ ํ•ฉ์ณ์„œ
01:58
collective consciousness of what they remembered
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์‚ฌ๋žŒ๋“ค์ด ์ด๋žฌ๋˜๊ฑฐ ๊ฐ™๋‹ค๋ผ๊ณ  ๊ธฐ์–ตํ•˜๋Š” ๋ถ€๋ถ„์ ์ธ ๋‚ด์šฉ์„
02:00
it looked like, but not what it really looked like.
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๋งŒ๋“ค์—ˆ์ง€๋งŒ, ๊ทธ๊ฑด ์‚ฌ์‹ค ์ •๋ง ๋ณด์ด๋Š”๋Œ€๋กœ์˜ ๋ชจ์Šต์€ ์•„๋‹ˆ์—ˆ์–ด์š”.
02:02
So this is what we created for "Apollo 13."
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์ด๊ฒƒ์ด "์•„ํด๋กœ 13ํ˜ธ"์—์„œ ์šฐ๋ฆฌ๊ฐ€ ๋งŒ๋“ค์–ด๋‚ธ ์žฅ๋ฉด์ž…๋‹ˆ๋‹ค.
02:05
(Launch noises)
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(๋ฐœ์‚ฌ ์†Œ์Œ)
02:09
So literally what you're seeing now is the confluence
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๊ทธ๋Ÿฌ๋‹ˆ๊นŒ ์ •ํ™•ํ•˜๊ฒŒ ๋งํ•˜์ž๋ฉด, ์—ฌ๋Ÿฌ๋ถ„์ด ๋ณด์‹œ๋Š” ๊ฒƒ์€
02:12
of a bunch of different people, a bunch of different memories,
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์ˆ˜๋งŽ์€ ์‚ฌ๋žŒ๋“ค์˜, ์ˆ˜๋งŽ์€ ๊ธฐ์–ต์˜ ์ง‘ํ•ฉ์ฒด์ง€์š”.
02:14
including my own, of taking a little bit of liberty
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์ œ ์ž์‹ ์˜ ๊ธฐ์–ต๊ณผ ์ฃผ์ œ์— ์˜ํ–ฅ์„ ์ฃผ๋Š”
02:17
with the subject matter.
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์•ฝ๊ฐ„์˜ ์ƒ์ƒ๋ ฅ์„ ํฌํ•จํ•œ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
02:19
I basically shot everything with short lenses,
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์ €๋Š” ๊ธฐ๋ณธ์ ์œผ๋กœ ๊ทผ๊ฑฐ๋ฆฌ ๋ Œ์ฆˆ๋ฅผ ์”๋‹ˆ๋‹ค.
02:21
which means that you're very close to the action,
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๊ทธ๋Ÿฌ๋‹ˆ๊นŒ ์•ก์…˜์— ์•„์ฃผ ๊ฐ€๊นŒ์ด์„œ ์ฐ๋Š”๊ฑฐ์ฃ .
02:23
but framed it very similarly to the long lens shots
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๊ทธ๋ ‡์ง€๋งŒ ๋ง์› ๋ Œ์ฆˆ๋ฅผ ์“ฐ๋Š”๊ฒƒ์ฒ˜๋Ÿผ ๊ตฌ๋„๋ฅผ ์žก์•˜์Šต๋‹ˆ๋‹ค.
02:26
which gives you a sense of distance, so I was basically
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๊ทธ๋Ÿฌ๋ฉด ๊ฑฐ๋ฆฌ๊ฐ์ด ์ข€ ์ƒ๊ธฐ์ฃ . ๊ทธ๋Ÿฌ๋‹ˆ๊นŒ ๊ธฐ๋ณธ์ ์œผ๋กœ
02:28
was setting up something that would remind you
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์‚ฌ๋žŒ๋“ค์ด ์ „์— ์‚ฌ์‹ค ๋ณด์ง€ ๋ชปํ•œ ์žฅ๋ฉด์„ ๊ธฐ์–ตํ•ด ๋‚ด๋„๋ก
02:30
of something you haven't really quite seen before. (Music)
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์žฅ์น˜ํ•œ ๊ฒƒ์ด์ฃ . (์Œ์•…)
02:34
And then I'm going to show you exactly what it is
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์ด์ œ ์—ฌ๋Ÿฌ๋ถ„๋“ค์ด ๋ฐ˜์‘์„ ๋ณด์ผ ๋•Œ, ์‹ค์ œ๋กœ ์—ฌ๋Ÿฌ๋ถ„๋“ค์ด ๋ฐ˜์‘ํ•˜๋Š” ๋Œ€์ƒ์ด
02:36
that you were reacting to when you were reacting to it.
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์ •ํ™•ํ•˜๊ฒŒ ์–ด๋–ค ๊ฒƒ์ธ์ง€ ๋ณด์—ฌ๋“œ๋ฆฌ๊ฒ ์Šต๋‹ˆ๋‹ค.
02:40
(Music)
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(์Œ์•…)
02:53
Tom Hanks: Hello, Houston, this is Odyssey.
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ํ†ฐ ํ–‰ํฌ์Šค: ํœด์Šคํ†ค, ์—ฌ๊ธด ์˜ค๋”ง์„ธ์ด๋‹ค.
02:55
It's good to see you again. (Cheers) (Music)
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๋‹ค์‹œ ๋งŒ๋‚˜๊ฒŒ ๋˜์„œ ๋ฐ˜๊ฐ‘๋‹ค. (ํ™˜ํ˜ธ) (์Œ์•…)
02:58
Rob Legato: I pretend they're clapping for me.
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๋กญ ๋ ˆ๊ฐ€ํ† : ์‚ฌ๋žŒ๋“ค์ด ์ €์—๊ฒŒ ๋ฐ•์ˆ˜๋ฅผ ๋ณด๋‚ด๋Š” ๊ฑธ๋กœ ํ•˜๊ฒ ์Šต๋‹ˆ๋‹ค.
03:00
(Laughter)
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(์›ƒ์Œ)
03:02
So now I'm in a parking lot. Basically it's a tin can,
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๊ทธ๋Ÿฌ๋‹ˆ๊นŒ ์ „ ์ง€๊ธˆ ์ฃผ์ฐจ์žฅ์— ์žˆ๊ณ , ๊นกํ†ต์ด ํ•˜๋‚˜ ์žˆ์–ด์š”.
03:06
and I'm basically recreating the launch with
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์ €๋Š” ๊ธฐ๋ณธ์ ์œผ๋กœ ์†Œํ™”๊ธฐ๋กœ ๋ฐœ์‚ฌ ์žฅ๋ฉด์„ ์žฌํ˜„ํ•  ๊ฒƒ์ž…๋‹ˆ๋‹ค.
03:08
fire extinguishers, fire, I have wax that I threw
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์ œ๊ฐ€ ๊ฐ€์ง€๊ณ  ์žˆ๋Š” ์™์Šค๋Š” ๋ Œ์ฆˆ์— ๋ฟŒ๋ฆด๊ฑด๋ฐ
03:12
in front of the lens to look like ice, and so basically
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์–ผ์Œ์ฒ˜๋Ÿผ ๋ณด์ด์ฃ .
03:15
if you believed any of the stuff that I just showed you,
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์—ฌ๋Ÿฌ๋ถ„๋“ค์ด ๋ฐ˜์‘ํ•˜์‹ค ๋•Œ,
03:18
what you were reacting to, what you're emoting to,
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๋ฐฉ๊ธˆ ๋ณด์—ฌ๋“œ๋ฆฐ ์–ด๋Š ๊ฒƒ์ด๋ผ๋„ ๋ฏฟ์œผ์‹ ๋‹ค๋ฉด, ์—ฌ๋Ÿฌ๋ถ„๋“ค์ด ๊ฐํฅ์„ ๊ฐ–๊ฒŒ ๋˜๋Š” ๊ฒƒ์€
03:21
is something that's a total falsehood, and I found that
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์™„์ „ํ•œ ํ—ˆ๊ตฌ์— ๋Œ€ํ•œ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
03:24
really kind of fascinating.
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์ •๋ง ํฅ๋ฏธ๋กœ์šด ๊ฑธ ๋ฐœ๊ฒฌํ–ˆ์ฃ .
03:25
And in this particular case, this is the climax of the movie,
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์ด ํŠน์ •ํ•œ ๊ฒฝ์šฐ์—, ์—ฌ๊ธฐ๊ฐ€ ์˜ํ™”์˜ ํด๋ผ์ด๋ง‰์Šค์ธ๋ฐ์š”
03:28
and, you know, the weight of achieving it was simply
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์žฅ๋ฉด์„ ๋งŒ๋“œ๋Š” ์ค‘์š”ํ•œ ๋ถ€๋ถ„์€ ๊ทธ์ € ๋ชจ๋ธ์„ ์ •ํ•˜๊ณ 
03:31
take a model, throw it out of a helicopter, and shoot it.
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ํ—ฌ๋ฆฌ์ฝฅํ„ฐ ๋ฐ–์œผ๋กœ ๋˜์ง„ ๋‹ค์Œ, ๊ทธ๊ฑธ ์ฐ์€๊ฑฐ์—์š”.
03:35
And that's simply what I did.
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๊ทธ๊ฒƒ์ด ์ œ๊ฐ€ ํ–ˆ๋˜ ์ผ์ž…๋‹ˆ๋‹ค.
03:37
That's me shooting, and I'm a fairly mediocre operator,
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์ฐ๋Š” ์‚ฌ๋žŒ์ด ์ €์˜€๊ณ , ์ €๋Š” ๊ทธ์ € ๊ทธ๋Ÿฐ ์—ฐ์ถœ๊ฐ€์˜€์ฃ .
03:39
so I got that nice sense of verisimilitude, of a kind of,
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์ €๋Š” ๋ญ๋ž„๊นŒ.. ์ •๋ง ์ง„์งœ๊ฐ™์€ ๋Š๋‚Œ์„ ๋ฐ›์•˜์–ด์š”.
03:43
you know, following the rocket all the way down,
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๋กœ์ผ“์„ ๋”ฐ๋ผ ์ € ์•„๋žซ์ชฝ์œผ๋กœ ๋”ฐ๋ผ๊ฐ€๋ฉด์„œ
03:46
and giving that little sort of edge, I was desperately
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์•ฝ๊ฐ„์˜ ๊ฐ•์กฐ์ ์„ ์ฃผ์—ˆ์ฃ . ์ €๋Š” ์ €๊ฑธ ํ™”๋ฉด์— ๋‹ด์œผ๋ ค๊ณ 
03:47
trying to keep it in frame. So then I come up to the next thing.
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๊ต‰์žฅํžˆ ์• ๋ฅผ ์ผ์–ด์š”. ๊ทธ๋Ÿฌ์ž ๋‹ค์Œ ๋ฌธ์ œ๊ฐ€ ์ผ์–ด๋‚ฌ์ฃ .
03:51
We had a NASA consultant who was actually an astronaut,
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์‹ค์ œ ์šฐ์ฃผ์ธ์ด์—ˆ๋˜ NASA ์˜ ๊ณ ๋ฌธ์ด ์žˆ์—ˆ๋Š”๋ฐ
03:53
who was actually on some of the missions, of Apollo 15,
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์ด ์‚ฌ๋žŒ์€ ์‹ค์ œ๋กœ ์•„ํด๋กœ 15ํ˜ธ์— ํƒ‘์Šนํ•ด์„œ ์ž„๋ฌด๋ฅผ ์ˆ˜ํ–‰ํ–ˆ๋˜ ์‚ฌ๋žŒ์ด์ฃ .
03:56
and he was there to basically double check my science.
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์ด ์‚ฌ๋žŒ์ด ๊ฑฐ๊ธฐ์„œ ์ œ๊ฐ€ ๋งŒ๋“ค์–ด๋‚ธ ์žฅ๋ฉด์„ ๊ณผํ•™์ ์œผ๋กœ ๋‹ค์‹œ ๊ฒ€ํ† ํ–ˆ์–ด์š”.
04:00
And, I guess somebody thought they needed to do that.
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์•„๋งˆ ๋ˆ„๊ตฐ๊ฐ€๊ฐ€ ๊ทธ๋ž˜์•ผ ํ•  ํ•„์š”๊ฐ€ ์žˆ๋‹ค๊ณ  ์ƒ๊ฐํ•œ๊ฑฐ๊ฒ ์ฃ .
04:04
(Laughter)
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(์›ƒ์Œ)
04:05
I don't know why, but they thought they did.
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์ด์œ ๋Š” ๋ชจ๋ฅด๊ฒ ์ง€๋งŒ ์‚ฌ๋žŒ๋“ค์€ ๊ทธ๋ ‡๊ฒŒ ์ƒ๊ฐํ–ˆ์Šต๋‹ˆ๋‹ค.
04:08
So we were, he's a hero, he's an astronaut, and
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๊ทธ ์‚ฌ๋žŒ์€ ์šฐ์ฃผ๋น„ํ–‰์‚ฌ์ธ ์˜์›…์ด์—ˆ์œผ๋‹ˆ
04:12
we're all sort of excited, and, you know, I gave myself
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์šฐ๋ฆฌ๋Š” ์•ฝ๊ฐ„ ํฅ๋ถ„๋˜๊ธฐ๋„ ํ–ˆ์–ด์š”.
04:15
the liberty of saying, you know, some of the shots I did
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์•ฝ๊ฐ„์˜ ์ƒ์ƒ๋ ฅ์„ ๊ฐ€๋ฏธํ•ด์„œ ์ œ๊นŒ ์ง์—ˆ๋˜ ๊ทธ๋ฆฌ ๋‚˜์˜์ง€ ์•Š์€
04:17
didn't really suck that bad.
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์žฅ๋ฉด์— ๋Œ€ํ•ด์„œ ์ด์•ผ๊ธฐ๋ฅผ ํ–ˆ์Šต๋‹ˆ๋‹ค.
04:20
And so maybe, you know, we were feeling kind of a little
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์–ด์ฉŒ๋ฉด ์•„๋งˆ ์šฐ๋ฆฌ๊ฐ€ ๋„ˆ๋ฌด ์ž˜ ๋œ๋‹ค๊ณ  ์ƒ๊ฐํ–ˆ์„์ง€๋„ ๋ชฐ๋ผ์š”
04:23
good about it, so I brought him in here, and he needed
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์ €๋Š” ๊ทธ ๋ถ„์„ ๋ชจ์…”๋‹ค๊ฐ€ ์šฐ๋ฆฌ๊ฐ€ ์ดฌ์˜ํ–ˆ๋˜
04:25
to really check and see what we were doing,
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์žฅ๋ฉด์„ ๋ณด๊ณ  ํ™•์ธํ•˜๋„๋ก ํ•ด์•ผ ํ–ˆ์Šต๋‹ˆ๋‹ค.
04:28
and basically give us our A plus report card,
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๊ทธ ๋ถ„์€ ๋ณด๊ณ ์„œ์— A+๋ผ๊ณ  ์ ์—ˆ์ฃ .
04:31
and so I showed him some shots we were working on,
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๊ทธ๋ž˜์„œ ์ œ๊ฐ€ ๊ทธ ๋ถ„์—๊ฒŒ ์šฐ๋ฆฌ๊ฐ€ ์ž‘์—…ํ•˜๋˜ ๋‚ด์šฉ์„ ์ผ๋ถ€ ๋ณด์—ฌ๋“œ๋ ธ์–ด์š”.
04:33
and waiting for the reaction that you hope for,
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๊ทธ๋ฆฌ๊ณ ๋Š” ๋“ฃ๊ณ  ์‹ถ์€ ํ‰๊ฐ€๊ฐ€ ๋‚˜์˜ค๊ธฐ๋ฅผ ๊ธฐ๋‹ค๋ ธ์ฃ .
04:36
which is what I got. (Music) (Launch noises)
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์ •๋ง ํฌ๋งํ–ˆ๋˜ ํ‰๊ฐ€๋ฅผ ๋“ค์—ˆ์Šต๋‹ˆ๋‹ค. (์Œ์•…) (๋ฐœ์‚ฌ ์†Œ์Œ)
04:39
So I showed him these two shots,
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๊ทธ ๋ถ„์—๊ฒŒ ์ด ๋‘ ์žฅ๋ฉด์„ ๋ณด์—ฌ๋“œ๋ ธ์–ด์š”.
04:41
and then he basically told me what he thought.
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๊ทธ ๋ถ„์€ ์ƒ๊ฐํ•˜์‹œ๋Š” ๋Œ€๋กœ ์ œ๊ฒŒ ์ด์•ผ๊ธฐ ํ•ด์ฃผ์…จ์–ด์š”.
04:45
("That's wrong") (Laughter)
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("ํ‹€๋ ธ์–ด์š”") (์›ƒ์Œ)
04:47
Okay. (Laughter)
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์•„ ๊ทธ๋ž˜์š”. (์›ƒ์Œ)
04:50
It's what you dream about.
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์ด๊ฑด ๋‹น์‹ ์ด ๊ฟˆ๊พธ๋˜ ๊ฒƒ์ด์ฃ .
04:52
(Laughter)
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(์›ƒ์Œ)
04:55
So what I got from him is, he turned to me and said,
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์ œ๊ฐ€ ๋“ค์€ ์ด์•ผ๊ธฐ๋Š”, ์ด๋ ‡๊ฒŒ ๋ง์”€ํ•˜์‹œ๋”๊ตฐ์š”
04:58
"You would never, ever design a rocket like that.
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" ๋กœ์ผ“์€ ์ ˆ๋Œ€, ์ ˆ๋Œ€๋กœ ๊ทธ๋ ‡๊ฒŒ ๋งŒ๋“ค์ง€ ๋ชปํ•ฉ๋‹ˆ๋‹ค..
05:02
You would never have a rocket go up
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๋ฐ›์นจ๋Œ€์˜ ์ง€์ง€๋Œ€๊ฐ€ ๋ฐ–์œผ๋กœ ๋‚˜์™€ ์žˆ์„ ๋•Œ,
05:03
while the gantry arms are going out. Can you imagine
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๋กœ์ผ“์€ ์ ˆ๋Œ€๋กœ ์œ„๋กœ ๋‚ ์•„ ์˜ค๋ฅด์ง€ ๋ชปํ•ฉ๋‹ˆ๋‹ค.
05:05
the tragedy that could possibly happen with that?
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๊ทธ๋žฌ์„ ๋•Œ, ์ผ์–ด๋‚ ์ง€๋„ ๋ชจ๋ฅผ ์ฐธ์‚ฌ๋ฅผ ์ƒ์ƒํ•ด๋ณด์„ธ์š”.
05:07
You would never, ever design a rocket like that."
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์ ˆ๋Œ€๋กœ ๋กœ์ผ“์„ ์ €๋ ‡๊ฒŒ๋Š” ๋งŒ๋“ค์ง€ ๋ชปํ•ฉ๋‹ˆ๋‹ค."
05:10
And he was looking at me. It's like, Yeah, I don't know
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๊ทธ ๋ถ„์ด ์ €๋ฅผ ์ณ๋‹ค๋ณด์…จ์ฃ . ๊ทธ๋ ‡์ฃ .. ๋ณด์…จ๋Š”์ง€ ๋ชจ๋ฅด์ง€๋งŒ,
05:12
if you noticed, but I'm the guy out in the parking lot
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์ €๋Š” ์†Œํ™”๊ธฐ๋กœ ๋ฏธ๊ตญ์—์„œ ๊ฐ€์žฅ ๊ฐ๋™์ ์ธ ์ˆœ๊ฐ„์„
05:14
recreating one of America's finest moments with
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์žฌํ˜„ํ•ด ๋‚ด๋ ค๊ณ  ์ฃผ์ฐจ์žฅ์— ์„œ ์žˆ๋Š”
05:16
fire extinguishers.
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์ž‘์ž์˜€์Šต๋‹ˆ๋‹ค.
05:18
(Laughter)
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(์›ƒ์Œ)
05:20
And I'm not going to argue with you. You're an astronaut,
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'์ด๊ฑธ๋กœ ๋…ผ์Ÿ์„ ๋ฒŒ์ด๊ณ  ์‹ถ์ง€ ์•Š์•„์š”. ๋‹น์‹ ์€ ์šฐ์ฃผ ๋น„ํ–‰์‚ฌ๊ณ 
05:23
a hero, and I'm from New Jersey, so --
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์˜์›…์ด์‹œ์ฃ , ์ €๋Š” ๊ทธ์ € ๋‰ด์ €์ง€์—์„œ ์˜จ.. --
05:25
(Laughter)
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(์›ƒ์Œ)
05:27
I'm just going to show you some footage.
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์—ฌ๊ธฐ ๋ช‡๋ช‡ ์žฅ๋ฉด์„ ๋ณด์—ฌ๋“œ๋ฆฌ์ฃ .
05:29
I'm just going to show you some footage, and tell me what you think.
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์ด๊ฑธ ๋ณด์—ฌ๋“œ๋ฆดํ…Œ๋‹ˆ ์–ด๋–ค ์ƒ๊ฐ์ด ๋“œ๋Š”์ง€ ๋ง์”€ํ•ด์ฃผ์„ธ์š”. '
05:32
And then I did kind of get the reaction I was hoping for.
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๊ทธ๋ฆฌ๊ณ ๋‚˜์„œ ์ €๋Š” ์ œ๊ฐ€ ๋“ฃ๊ณ  ์‹ถ์—ˆ๋˜ ํ‰๊ฐ€๋ฅผ ๋“ฃ๊ฒŒ ๋˜์—ˆ์Šต๋‹ˆ๋‹ค.
05:34
So I showed him this, and this is actual footage
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์ œ๊ฐ€ ๊ทธ ๋ถ„์—๊ฒŒ ์ด๊ฑธ ๋ณด์—ฌ๋“œ๋ ธ์–ด์š”. ๊ทธ ๋ถ„์ด ํƒ”๋˜ ์šฐ์ฃผ์„ ์˜
05:36
that he was on. This is Apollo 15. This was his mission.
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์‹ค์ œ ์žฅ๋ฉด์ด์—์š”. ์•„ํด๋กœ 15ํ˜ธ์˜€์–ด์š”. ๊ทธ๊ฐ€ ์ˆ˜ํ–‰ํ–ˆ๋˜ ์ž„๋ฌด์ฃ .
05:40
So I showed him this, and the reaction I got was interesting.
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์ œ๊ฐ€ ์ด ์žฅ๋ฉด์„ ๋ณด์—ฌ๋“œ๋ ธ์„ ๋•Œ, ๊ทธ ๋ถ„์˜ ๋ฐ˜์‘์ด ์žฌ๋ฏธ์žˆ์—ˆ์–ด์š”.
05:45
("That's wrong too.") (Laughter)
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("๊ทธ๊ฒƒ๋„ ํ‹€๋ ธ์Šต๋‹ˆ๋‹ค.") (์›ƒ์Œ)
05:48
So, and what happened was, I mean, what I sort of intuned
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๊ทธ๋Ÿฐ๋ฐ, ์‚ฌ์‹ค์€
05:51
in that is that he remembered it differently.
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๊ทธ ๋ถ„์ด ๋‹ค๋ฅด๊ฒŒ ๊ธฐ์–ตํ•˜๊ณ  ์žˆ๋˜ ๊ฒƒ์ด์—ˆ์–ด์š”.
05:54
He remembered that was a perfectly safe sort of gantry
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๊ทธ ๋ถ„์€ ๊ทธ ์ง€์ง€๋Œ€๊ฐ€ ์™„๋ฒฝํ•  ์ •๋„๋กœ ์•ˆ์ „ํ•˜๋‹ค๊ณ 
05:56
system, perfectly safe rocket launch, because he's sitting
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๊ทธ๋Ÿฌ๋‹ˆ๊นŒ ๋กœ์ผ“ ๋ฐœ์‚ฌ์— ์™„๋ฒฝํ•˜๊ฒŒ ์•ˆ์ „ํ•˜๋‹ค๊ณ  ๊ธฐ์–ตํ•˜๊ณ  ์žˆ๋˜๊ฑฐ์ฃ .
05:59
in a rocket that has, like, a hundred thousand pounds
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์™œ๋ƒํ•˜๋ฉด, ๊ทธ ๋ถ„์€ ์ˆ˜์ฒœ ํ†ค์˜ ์ถ”์ง„๋ ฅ์„ ๊ฐ€์ง„
06:01
of thrust, built by the lowest bidder.
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์ตœ๊ณ ์˜ ๋กœ์ผ“์•ˆ์— ์•‰์•„ ์žˆ์—ˆ์œผ๋‹ˆ๊นŒ์š”.
06:03
He was hoping it was going to work out okay.
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๊ทธ ๋ถ„์€ ๋ชจ๋“ ๊ฒŒ ์ž˜ ์ง„ํ–‰๋ ๊ฑฐ๋ผ๊ณ  ๋ฐ”๋ผ๊ณ ๋งŒ ์žˆ๋˜๊ฑฐ์ฃ .
06:05
(Laughter) (Applause)
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(์›ƒ์Œ) (๋ฐ•์ˆ˜)
06:08
So he twisted his memory around.
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๊ทธ๋ž˜์„œ ๊ทธ๋ถ„์˜ ๊ธฐ์–ต์—๋Š” ์™œ๊ณก์ด ์žˆ๋˜๊ฒ๋‹ˆ๋‹ค.
06:10
Now, Ron Howard ran into Buzz Aldrin, who was not
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๋ก  ํ•˜์›Œ๋“œ๊ฐ€ ๋ฒ„์ฆˆ ์˜ฌ๋“œ์œˆ์„ ์šฐ์—ฐํžˆ ๋งˆ์ฃผ์ณค๋Š”๋ฐ,
06:13
on the movie, so he had no idea that we were faking
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์ด ๋ถ„์€ ์˜ํ™”์™€๋Š” ๊ด€๋ จ์ด ์—†์–ด์„œ ์šฐ๋ฆฌ๊ฐ€ ๋งŒ๋“  ์˜์ƒ์ด
06:16
any of this footage, and he just responded
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๊ฐ€์งœ๋ผ๋Š” ์ƒ๊ฐ์€ ์ „ํ˜€ ํ•˜์ง€ ๋ชปํ•˜๊ณ  ์žˆ์—ˆ์–ด์š”.
06:18
as he would respond, and I'll run this.
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์˜ฌ๋“œ์œˆ์€ ๊ทธ๋ ‡๊ฒŒ ๋ฐ˜์‘ํ•œ๊ฒ๋‹ˆ๋‹ค. ๊ทธ๊ฑธ ๋ณด์—ฌ๋“œ๋ฆฌ์ฃ .
06:21
Ron Howard: Buzz Aldrin came up to me
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๋ก  ํ•˜์›Œ๋“œ: ๋ฒ„์ฆˆ ์˜ฌ๋“œ์œˆ์ด ์ œ๊ฒŒ ์™€์„œ๋Š”
06:23
and said, "Hey, that launch footage, I saw some shots
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"๊ทธ ๋ฐœ์‚ฌ ์žฅ๋ฉด ์•Œ์•„? ๋‚ด๊ฐ€ ์ „์—” ๋ณด์ง€๋„ ๋ชปํ–ˆ๋˜ ์žฅ๋ฉด์„ ๋ดค์–ด.
06:28
I'd never seen before. Did you guys, what vault did you find
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๊ทธ๋Ÿฐ๊ฑด ์–ด๋Š ์šฐ์ฃผ์„ ์—์„œ ์ฐพ์•„๋‚ธ๊ฑฐ์•ผ?"๋ผ๊ณ  ๋ฌป๋”๊ตฐ์š”.
06:33
that stuff in?" And I said, "Well, no vault, Buzz,
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์ œ๊ฐ€ ๊ทธ๋žฌ์ฃ . "์ด ์นœ๊ตฌ์•ผ,
06:35
we generated all that from scratch."
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๊ทธ๊ฑด ์šฐ๋ฆฌ๊ฐ€ ์•„๋ฌด ๊ฒƒ๋„ ์—†๋Š”๋ฐ์„œ ๋งŒ๋“ค์–ด๋‚ธ๊ฑฐ๋ผ๋„ค."
06:38
And he said, "Huh, that's pretty good. Can we use it?"
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๊ทธ๋Ÿฌ์ž "๋Œ€๋‹จํ•œ๋ฐ? ์šฐ๋ฆฌ๊ฐ€ ์จ๋„ ๋ ๊นŒ?"๋ผ๊ณ  ํ•˜๋”๊ตฐ์š”.
06:42
(Explosion) ("Sure") (Laughter)
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(ํญ๋ฐœ์Œ) ("๊ทธ๋Ÿผ") (์›ƒ์Œ)
06:46
RL: I think he's a great American.
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๋ก  ํ•˜์›Œ๋“œ: ์ € ์‚ฌ๋žŒ์€ ์ •๋ง ๋Œ€๋‹จํ•œ ๋ฏธ๊ตญ์ธ์ด์—์š”.
06:48
(Laughter)
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(์›ƒ์Œ)
06:52
So, "Titanic" was, if you don't know the story,
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์ด ์ด์•ผ๊ธฐ๋Š” ์ž˜ ๋ชจ๋ฅด์‹œ๊ฒ ์ฃ . "ํƒ€์ดํƒ€๋‹‰"์€
06:55
doesn't end well.
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๋ฉ‹์ง€๊ฒŒ ๋๋งบ์ง€ ๋ชปํ–ˆ์Šต๋‹ˆ๋‹ค.
06:57
(Laughter)
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(์›ƒ์Œ)
06:59
Jim Cameron actually photographed the real Titanic.
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์ง ์บ๋จธ๋Ÿฐ์€ ์‚ฌ์‹ค ์‹ค์ œ ํƒ€์ดํƒ€๋‹‰ํ˜ธ์˜ ์‚ฌ์ง„์„ ์ฐ์—ˆ์–ด์š”.
07:02
So he basically set up, or basically shattered
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๊ทธ ์‚ฌ๋žŒ์€ ๊ทธ๋Ÿฌ๋‹ˆ๊นŒ ๋ฏฟ์ง€ ๋ชปํ•˜๋Š” ์‚ฌ๋žŒ๋“ค์„ ์™„์ „ํžˆ
07:05
the suspension of disbelief, because what he photographed
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ํ—ท๊ฐˆ๋ฆฌ๊ฒŒ ํ•œ๊ฒ๋‹ˆ๋‹ค. ๊ทธ๊ฐ€ ์ฐ์€ ์žฅ๋ฉด์€
07:07
was the real thing, a Mir sub going down, or actually
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์ง„์งœ์˜€์–ด์š”. ๋ฏธ๋ฅด๋ผ๋Š” ์ž ์ˆ˜์ •์ด ๋‚ด๋ ค๊ฐ€,
07:11
two Mir subs going down to the real wreck,
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์‹ค์ œ๋กœ๋Š” ๋‘๋Œ€์˜ ์ž ์ˆ˜์ •์ด ๋‚œํŒŒ์ง€์ ๊นŒ์ง€ ๋‚ด๋ ค๊ฐ€์„œ
07:13
and he created this very haunting footage.
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์ด๋Ÿฐ ์žŠ์ง€ ๋ชปํ•  ์žฅ๋ฉด์„ ์ฐ์–ด ์™”์Šต๋‹ˆ๋‹ค.
07:15
It's really beautiful, and it conjures up all these
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์ •๋ง ์•„๋ฆ„๋‹ต์ฃ . ๊ทธ๋ž˜์„œ ์ด๋Ÿฐ ์—ฌ๋Ÿฌ๊ฐ€์ง€ ๋‹ค์–‘ํ•œ
07:18
various different emotions, but he couldn't photograph
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๊ฐํฅ์„ ๋ถˆ๋Ÿฌ ์ผ์œผํ‚จ ๊ฒ๋‹ˆ๋‹ค. ํ•˜์ง€๋งŒ ๋ชจ๋“  ์žฅ๋ฉด์„ ๋‹ค ์ฐ์„ ์ˆ˜๋Š”
07:20
everything, and to tell the story,
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์—†์—ˆ์ฃ . ์‚ฌ์‹ค์„ ๋ง์”€๋“œ๋ฆฌ๋ฉด,
07:23
I had to fill in the gaps, which is now rather daunting,
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์ค‘๊ฐ„์— ๋นˆ ์žฅ๋ฉด์„ ์ œ๊ฐ€ ์ฑ„์›Œ๋„ฃ์–ด์•ผ ํ–ˆ์–ด์š”. ์ง€๊ธˆ๋ณด๋‹ˆ ํ›จ์”ฌ ๊ฒ๋‚˜๋Š” ์ผ์ธ๋ฐ์š”.
07:25
because now I have to recreate back to back
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์™œ๋ƒํ•˜๋ฉด ์ œ๊ฐ€ ์‹ค์ œ ์ผ์–ด๋‚ฌ๋˜ ์‚ฌ์‹ค๊ณผ ์ œ๊ฐ€ ๊ฐ€์ง„ ์žฅ๋ฉด์˜
07:27
what really happened and I had, I'm the only one
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์‚ฌ์ด๋ฅผ ์˜ค๊ฐ€๋ฉฐ ์žฅ๋ฉด์„ ๋งŒ๋“ค์–ด๋‚ด์•ผ ํ–ˆ๊ฑฐ๋“ ์š”.
07:30
who could really blow it at that point.
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๊ทธ ๋‹น์‹œ์—๋Š” ๊ทธ๊ฑธ ํ•  ์‚ฌ๋žŒ์ด ์ € ๋ฐ–์— ์—†์—ˆ๊ฑฐ๋“ ์š”.
07:35
So this is the footage he photographed,
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์ด ์žฅ๋ฉด์€ ๊ทธ๊ฐ€ ์ฐ์€ ๊ฑฐ๊ตฌ์š”.
07:37
and it was pretty moving and pretty awe-inspiring.
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๊ต‰์žฅํžˆ ๊ฐ๋™์ ์ด๊ณ  ๊ฒฝ์™ธ๊ฐ์ด ๋“ค๊ธฐ๊นŒ์ง€ ํ•˜์ฃ .
07:41
So I'm going to just let it run, so you kind of absorb
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๊ทธ๋ƒฅ ๊ณ„์†ํ•˜๊ฒŒ ๋‘๊ฒ ์Šต๋‹ˆ๋‹ค. ๊ทธ๋ž˜์•ผ ์—ฌ๋Ÿฌ๋ถ„๋“ค์ด
07:44
this sort of thing, and I'll describe my sort of reactions
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๋น ์ ธ๋“ค ์ˆ˜ ์žˆ์œผ์‹คํ…Œ๋‹ˆ๊นŒ์š”. ์ œ๊ฐ€ ์ €๊ฑธ ์ฒ˜์Œ ๋ดค์„ ๋•Œ,
07:47
when I was looking at it for the very first time.
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์ œ๊ฐ€ ๋ณด์ธ ๋ฐ˜์‘์„ ๋ง์”€๋“œ๋ฆด๊ฒŒ์š”.
07:50
I got the feeling that my brain wanted to basically
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์ €๋Š” ๋งˆ์น˜ ์ œ๊ฐ€ ๊ทธ ์žฅ๋ฉด์„ ๋ณด๋ ค๊ณ 
07:54
see it come back to life.
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์ด์ƒ์— ๋˜์‚ด์•„๋‚œ ๋“ฏํ•œ ๋Š๋‚Œ์„ ๋ฐ›์•˜์–ด์š”.
07:56
I automatically wanted to see this ship,
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๋‹น์—ฐํžˆ ์ €๋Š” ์ด ๋ฐฐ๋ฅผ ๋ณด๊ณ  ์‹ถ์–ด์กŒ์ฃ .
07:58
this magnificent ship, basically in all its glory,
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์ด ๋Œ€๋‹จํ•œ ๋ฐฐ๋Š” ์ •๋ง ์ตœ๊ณ ์˜ ์˜์˜ˆ๋ฅผ ๋ˆ„๋ ธ์ง€๋งŒ
08:01
and conversely, I wanted to see it not in all its glory,
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์ €๋Š” ๊ทธ ๋ฐ˜๋Œ€๋กœ, ๊ทธ๋ ‡๊ฒŒ ์˜์˜ˆ๋กญ์ง€ ๋ชปํ•œ ๋ฉด์„ ๋ณด๊ณ  ์‹ถ์—ˆ์Šต๋‹ˆ๋‹ค.
08:04
basically go back to what it looks like.
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์–ด์ฐŒ ๋ณด์ด๋Š”์ง€ ๋˜๋Œ์•„๊ฐ€ ๋ณผ๊นŒ์š”.
08:06
So I conjured up an effect that I'm later going to show you
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์ด๊ฑธ ๋งŒ๋“ค๋ ค๊ณ  ์ œ๊ฐ€ ์–ด๋–ค ๋…ธ๋ ฅ์„ ํ–ˆ๋Š”์ง€๋Š” ๋‚˜์ค‘์— ๋ณด์—ฌ๋“œ๋ฆดํ…๋ฐ
08:10
what I tried to do, which is kind of the heart of the movie,
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ํ•œ๊ฐ€์ง€ ํšจ๊ณผ๋ฅผ ๋งŒ๋“ค์–ด ๋ƒˆ์Šต๋‹ˆ๋‹ค. ์ œ๊ฒ ์ด ์˜ํ™”์˜ ๊ฐ€์žฅ ํ•ต์‹ฌ์ด ๋˜๋Š” ๊ฒƒ์ธ๋ฐ์š”.
08:12
for me, and so that's why I wanted to do the movie,
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๊ทธ๋ž˜์„œ ์ œ๊ฐ€ ์˜ํ™”๋ฅผ ๋งŒ๋“ค๊ณ  ์‹ถ์–ดํ•˜์ฃ .
08:16
that's why I wanted to create the sort of things I created.
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๊ทธ๋ž˜์„œ ์ œ๊ฐ€ ๋งŒ๋“ค์–ด๋‚ด๊ณ  ์‹ถ์—ˆ๋˜ ๊ทธ๋Ÿฐ ๊ฒƒ์„ ๋งŒ๋“ค์–ด๋‚ด๋Š” ์ผ์„ ํ•ฉ๋‹ˆ๋‹ค.
08:19
And I'll show you, you know, another thing that I found
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์ œ๊ฐ€ ์ฐพ์•„๋‚ธ ๋‹ค๋ฅธ ํฅ๋ฏธ๋กœ์šด ๊ฑธ ํ•˜๋‚˜ ๋ณด์—ฌ๋“œ๋ฆฌ์ฃ .
08:21
interesting is what we really were emoting to
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์ด๊ฑธ ๋ณด์‹œ๋ฉด,
08:24
when you take a look at it.
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๊ฐ€์Šด์ด ์ •๋ง ๋ญ‰ํดํ•ด์ง‘๋‹ˆ๋‹ค.
08:25
So here's the behind the scenes, a couple of little shots here.
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์ด๊ฑด ์žฅ๋ฉด์ด ๋’ท ์ด์•ผ๊ธฐ๋ฅผ ์ฐ์€๊ฑฐ๊ตฌ์š”, ์ด๋Ÿฐ ์žฅ๋ฉด๋“ค์ด์ฃ .
08:28
So, when you saw my footage,
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์ œ๊ฐ€ ๋งŒ๋“  ์žฅ๋ฉด์„ ๋ณด์…จ์„ ๋•Œ,
08:30
you were seeing this: basically, a bunch of guys
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์—ฌ๋Ÿฌ๋ถ„๋“ค์€ ์ด๊ฑธ ๋ณด์‹ ๊ฒ๋‹ˆ๋‹ค: ์—„์ฒญ๋‚˜๊ฒŒ ๋งŽ์€ ๋‚จ์ž๋“ค์ด
08:33
flipping a ship upside down, and the little Mir subs
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๋ฐฐ๋ฅผ ๋’ค์ง‘์€ ๊ฒ๋‹ˆ๋‹ค. ์ž‘์€ ์ž ์ˆ˜์ • ๋ฏธ๋ฅด๋Š”
08:36
are actually about the size of small footballs,
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์‚ฌ์‹ค ์ž‘์€ ์ถ•๊ตฌ๊ณต ํฌ๊ธฐ๋งŒ ํ•ฉ๋‹ˆ๋‹ค.
08:38
and shot in smoke.
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์—ฐ๊ธฐ์† ์žฅ๋ฉด์ด๊ตฌ์š”.
08:40
Jim went three miles went down, and I went about
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์ง์€ 3๋งˆ์ผ(5km)๋‚˜ ๊นŠ์ด ๋ฌผ ์†์œผ๋กœ ๋“ค์–ด๊ฐ”๊ณ 
08:43
three miles away from the studio
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์ €๋Š” ์ŠคํŠœ๋””์˜ค์—์„œ 3๋งˆ์ผ์ฏค ๋–จ์–ด์ง„
08:44
and photographed this in a garage.
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์ฃผ์ฐจ์žฅ์œผ๋กœ ๊ฐ„๊ฒ๋‹ˆ๋‹ค.
08:47
And so, but what you're emoting to, or what you're looking
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์—ฌ๋Ÿฌ๋ถ„๋“ค์ด ๊ฐ๋™๋ฐ›๊ฑฐ๋‚˜, ๋ฐ”๋ผ๋ณด์‹  ๊ฒƒ๋“ค์€
08:49
at, had the same feeling, the same haunting quality,
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์ง์ด ์ฐ์€ ์˜์ƒ์—์„œ ๊ฐ€์กŒ๋˜ ๋Š๋‚Œ๊ณผ ๊ธฐ๋ณธ์ ์œผ๋กœ ๊ฐ™์€ ๋Š๋‚Œ์ด ๋“ค๊ฒ๋‹ˆ๋‹ค.
08:52
that Jim's footage had, so I found it so fascinating
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์ €๋Š” ์‚ฌ๋žŒ๋“ค์ด ์–ด๋–ค๊ฑธ ์ง„์งœ๋ผ๊ณ  ๋ฏฟ๊ฒŒ๋˜๋ฉด
08:55
that our brains sort of, once you believe something's real,
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๊ทธ๊ฒƒ์— ๋Œ€ํ•ด ๋Š๊ผˆ๋˜ ๋ฐ”๋ฅผ ์ „๋ถ€ ๋ณ€ํ˜•ํ•˜๊ฒŒ ๋œ๋‹ค๋Š”๊ฒŒ
09:00
you transfer everything that you feel about it,
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์ •๋ง ๋†€๋ผ์› ์Šต๋‹ˆ๋‹ค.
09:03
this quality you have, and it's totally artificial.
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์ด๋Ÿฐ ์ˆ˜์ค€์ž…๋‹ˆ๋‹ค. ์ด๊ฑด ์™„์ „ํžˆ ์ธ๊ณต์ ์ธ ๊ฒƒ์ด๊ฑฐ๋“ ์š”.
09:05
It's totally make-believe, yet it's not to you,
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์™„์ „ํžˆ ๊ฐ€๊ณต์˜ ๋Œ€์ƒ์ด์ง€๋งŒ ์—ฌ๋Ÿฌ๋ถˆ๋“ค๊ป˜๋Š” ์•„๋‹ˆ๊ฒ ์ฃ .
09:09
and I found that that was a very interesting thing
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์ œ๊ฐ€ ๋ฐœ๊ฒฌํ•œ ๊ฒƒ์€ ์ •๋ง ์žฌ๋ฏธ์žˆ๊ณ 
09:11
to explore and use, and it caused me to create the next
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๊ทธ ์‹ค์ฒด๋ฅผ ์•Œ์•„๋‚ด์„œ ์‚ฌ์šฉํ•ด ๋ณผ ๋งŒํ•ด์š”.
09:14
effect that I'll show you, which is
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๊ทธ๋กœ ์ธํ•ด, ์ €๋Š” ์ด๋Ÿฐ ์˜์ƒ ํšจ๊ณผ๋ฅผ ๋งŒ๋“œ๋Š”๋ฐ
09:15
this sort of magic transition, and all I was really attempting
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์ผ์ข…์˜ ๋งˆ๋ฒ•๊ณผ๋„ ๊ฐ™์Šต๋‹ˆ๋‹ค. ์ œ๊ฐ€ ์ •๋ง๋กœ ์˜๋„ํ–ˆ๋˜ ๊ฒƒ์€
09:19
to do is basically have the audience cue the effect,
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๊ด€๊ฐ์ด ์˜์ƒ ํšจ๊ณผ๋ฅผ ์‹œ์ž‘ํ•˜๋Š” ์‹ ํ˜ธ๋ฅผ ๋‚ด๋„๋ก ํ•˜๋Š” ๊ฒƒ๊ณผ ๊ฐ™์•„์š”.
09:22
so it became a seamless experience for them,
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๊ทธ๋Ÿฌ๋‹ˆ๊นŒ ๊ด€๊ฐ๋“ค์—๊ฒŒ ๊ทธ๊ฒƒ์€ ํ ์žก์„ ๋ฐ ์—†์ด ๋งค๋„๋Ÿฝ๊ฒŒ ๋˜๊ฑฐ์ฃ .
09:25
that I wasn't showing you my sort of interpretation,
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๋งํ•˜์ž๋ฉด ์ €์˜ ํ•ด์„์„ ๋ณด์—ฌ๋“œ๋ฆฐ๊ฒŒ ์•„๋‹ˆ๋ผ
09:27
I was showing you what you wanted to see.
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๊ด€๊ฐ์ด ๋ณด๊ณ  ์‹ถ์–ด ํ•˜๋Š” ๊ฒƒ์„ ๋งŒ๋“ค์–ด ๋‚ธ๊ฒ๋‹ˆ๋‹ค.
09:30
And the very next shot, right after this --
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๋ฐ”๋กœ ๊ทธ ๋‹ค์Œ ์žฅ๋ฉด์€ --
09:37
So you can see what I was doing.
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์ œ๊ฐ€ ๋ญ˜ํ•˜๊ณ  ์žˆ์—ˆ๋Š”์ง€ ๋ณด์‹ค ์ˆ˜ ์žˆ์–ด์š”.
09:39
So basically, if there's two subs in the same shot,
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๊ธฐ๋ณธ์ ์œผ๋กœ ํ•œ ์žฅ๋ฉด์— ์ž ์ˆ˜์ • ๋‘๋Œ€๊ฐ€ ๋ณด์ด๋ฉด
09:41
I shot it, because where's the camera coming from?
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๊ทธ๊ฑด ์ œ๊ฐ€ ์ฐ์€ ์žฅ๋ฉด์ด์ด์—์š”. ์™œ๋ƒํ•˜๋ฉด, ์นด๋ฉ”๋ผ๋Š” ์–ด๋””์„œ ์ฐ๋Š”๊ฑฐ๊ฒ ์–ด์š”?
09:43
And when Jim shot it, it was only one sub,
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์ง ์ผ€๋จธ๋Ÿฐ์ด ์ €๊ฑธ ์ฐ์„ ๋•Œ๋Š” ์ž ์ˆ˜์ •์ด ํ•œ ๋Œ€ ๋ฟ์ด์—ˆ์–ด์š”.
09:45
because he was photographing from the other,
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๊ทธ๋Š” ๋‹ค๋ฅธ ์ž ์ˆ˜์ •์—์„œ ์žฅ๋ฉด์„ ์ฐ๊ณ  ์žˆ์—ˆ์œผ๋‹ˆ๊นŒ์š”.
09:46
and I don't remember if I did this or Jim did this.
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์‚ฌ์‹ค ์ €๋Š” ์ œ๊ฐ€ ์ด๊ฑธ ์ฐ์—ˆ๋Š”์ง€ ์ง ์บ๋จธ๋Ÿฐ์ด ์ฐ์€ ๊ฑด์ง€ ์ž˜ ๊ธฐ์–ตํ•˜์ง€ ๋ชปํ•ฉ๋‹ˆ๋‹ค.
09:48
I'll give it to Jim, because he could use the pat on the back.
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์ง์ด ํ–ˆ๋‹ค๊ณ  ํ•ด๋‘์ฃ . ๊ทธ ์‚ฌ๋žŒ๋„ ์ข€ ์นญ์ฐฌ์„ ํ•ด์ค˜์•ผ์ฃ .
09:51
(Laughter)
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(์›ƒ์Œ)
09:58
Okay. So now the Titanic transition.
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์ž ์ด์ œ, ํƒ€์ดํƒ€๋‹‰ ์ž…๋‹ˆ๋‹ค.
10:00
So this is what I was referring to where I wanted to basically
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์ด ๋ถ€๋ถ„์ด ์ œ๊ฐ€ ๋ง์”€๋“œ๋ฆฐ ์žฅ๋ฉด์ด์—์š”.
10:03
magically transplant from one state of the Titanic
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์ œ๊ฐ€ ํƒ€์ดํƒ€๋‹‰์˜ ํ•œ ๋ชจ์Šต์—์„œ ๋‹ค๋ฅธ ๋ชจ์Šต์œผ๋กœ ๋งˆ์ˆ ์ฒ˜๋Ÿผ
10:06
to the other. So I'll just play the shot once. (Music)
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๋ณ€ํ™˜์‹œํ‚จ ๊ฒ๋‹ˆ๋‹ค. ๊ทธ ์žฅ๋ฉด์„ ํ•œ๋ฒˆ ๋ณด์—ฌ๋“œ๋ฆฌ์ฃ . (์›€์•…)
10:10
(Music)
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(์Œ์•…)
10:13
And what I was hoping for is that it just melts in front of you.
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์ œ๊ฐ€ ์›ํ–ˆ๋˜ ๊ฑด ์—ฌ๋Ÿฌ๋ถ„ ์•ž์—์„œ ๊ทธ๋ƒฅ ๋…น์•„๋‚ด๋ฆฌ๋Š” ๊ฒƒ์ด์—ˆ์–ด์š”.
10:25
Gloria Stuart: That was the last time Titanic ever saw daylight.
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๊ธ€๋กœ๋ฆฌ์•„ ์ŠคํŠœ์–ดํŠธ: ๊ทธ ๊ฒƒ์ด ํƒ€์ดํƒ€๋‹‰์„ ๋‚ฎ์— ๋ณธ ๋งˆ์ง€๋ง‰ ๋ชจ์Šต์ด์—ˆ์–ด์š”.
10:29
RL: So, what I did is basically I had another
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๋กœ๋ฒ„ํŠธ ๋ ˆ๊ฐ€ํ† : ๊ทธ๋Ÿฌ๋‹ˆ๊นŒ ์ œ๊ฐ€ ํ•œ ๊ฒƒ์€ ๊ธฐ๋ณธ์ ์œผ๋กœ ์–ด๋Š ๋ถ€๋ถ„์„ ์ง‘์ค‘ํ•ด์„œ ๋ณด๋Š”์ง€
10:32
screening room experience where I was basically tracking
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๋‚ด๊ฐ€ ์–ด๋–ค ๋ถ€๋ถ„์„ ๋”ฐ๋ผ๊ฐ€๋ฉฐ ๋ณด๊ณ  ์žˆ๋Š”์ง€
10:35
where I was looking, or where we were looking,
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์‹คํ—˜ํ•ด ๋ณผ ์ˆ˜ ์žˆ๋Š” ๋‹ค๋ฅธ ์ƒ์˜์‹ค์„ ๋งŒ๋“œ๋Š” ๊ฒƒ์ด์—ˆ์ฃ .
10:37
and of course you're looking at the two people on the bow
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๋ฌผ๋ก  ์—ฌ๋Ÿฌ๋ถ„๋“ค์€ ๋ฐฐ์˜ ๋์— ๋งค๋‹ฌ๋ฆฐ ๋‘ ์‚ฌ๋žŒ์ž…๋‹ˆ๋‹ค๋งŒ
10:39
of the ship, and then at some point,
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์–ด๋Š ์ˆœ๊ฐ„์—,
10:42
I'm changing the periphery of the shot,
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์ €๋Š” ์ด ์žฅ๋ฉด์˜ ๋ฐฐ๊ฒฝ์„ ๋ฐ”๊ฟ‰๋‹ˆ๋‹ค.
10:44
I'm changing, it's becoming the rusted wreck,
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๊ทธ๊ฑธ ๋ฐ”๊ฟ”์„œ ๋…น์Šจ ๋‚œํŒŒ์„ ์œผ๋กœ ๋ฐ”๊พธ๋Š”๊ฑฐ์ฃ .
10:46
and then I would run it every day, and then I would find
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๊ทธ๋ฆฌ๊ณ ๋Š” ๋งค์ผ ๊ทธ ์žฅ๋ฉด์„ ๋ฐ˜๋ณตํ•ด ๋ณด๋‹ค๊ฐ€
10:49
exactly the moment that I stopped looking at them
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๊ทธ ๋‘ ์‚ฌ๋žŒ์—์„œ ์‹œ์„ ์„ ๋–ผ๊ณ  ๊ทธ ์ฃผ๋ณ€์„ ๋ณด๊ฒŒ ๋˜๋Š” ๋ฐ”๋กœ ๊ทธ ์ˆœ๊ฐ„์„
10:52
and start noticing the rest of it, and the moment
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์ฐพ์•„๋‚ด๋Š” ๊ฒ๋‹ˆ๋‹ค. ์ œ ์‹œ์„ ์ด ์˜ฎ๊ฒจ๊ฐ€๋Š”๊ทธ ์ˆœ๊ฐ„์˜ ์žฅ๋ฉด์—
10:54
my eye shifted, we just marked it to the frame.
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ํ‘œ์‹œ๋ฅผ ํ•ด๋‘ก๋‹ˆ๋‹ค.
10:57
The moment my eye shifted, I immediately started
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์ €์˜ ์‹œ์„ ์ด ์˜ฎ๊ฒจ๊ฐ€๋Š” ์ˆœ๊ฐ„, ์ €๋Š” ๋ฐ”๋กœ ์ด ๋‘ ์‚ฌ๋žŒ์˜ ๋ชจ์Šต์„
10:59
to change them, so now somehow you missed
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๋ฐ”๊พธ๊ธฐ ์‹œ์ž‘ํ•ฉ๋‹ˆ๋‹ค. ๊ทธ๋ž˜์„œ ์‚ฌ๋žŒ๋“ค์€
11:01
where it started and where it stopped.
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๊ทธ ๋ณ€ํ™”๊ฐ€ ์–ธ์ œ ์‹œ์ž‘ํ•ด์„œ ์–ธ์ œ ๋๋‚˜๋Š”์ง€ ๋ชจ๋ฅด๊ฒŒ ๋˜๋Š”๊ฑฐ์ฃ .
11:04
And so I'll just show it one more time.
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ํ•œ๋ฒˆ ๋” ๋ณด์—ฌ๋“œ๋ฆด๊ฒŒ์š”.
11:06
(Music) And it's literally done by using what our brains
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(์Œ์•…) ์ด๊ฑด ์šฐ๋ฆฌ์˜ ๋จธ๋ฆฌ๊ฐ€ ์ž์—ฐ์ ์œผ๋กœ ํ–‰ํ•˜๋Š” ํ–‰๋™์„
11:09
naturally do for us, which is, as soon as you shift
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์ด์šฉํ•œ ๊ฒ๋‹ˆ๋‹ค. ๊ทธ๊ฑด ์—ฌ๋Ÿฌ๋ถ„์ด ์ฃผ์˜๋ฅผ ์˜ฎ๊ธฐ๋Š” ์ˆœ๊ฐ„,
11:13
your attention, something changes, and then I left
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๋ญ”๊ฐ€ ๋ฐ”๋€Œ๊ธฐ ์‹œ์ž‘ํ•˜๋Š” ๊ฒ๋‹ˆ๋‹ค. ๊ทธ๋ฆฌ๊ณ ๋Š”
11:15
the little scarf going, because it really wanted to be
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์Šค์นดํ”„๊ฐ€ ๋‚˜์˜ค์ฃ . ๊ทธ๊ฑด ๊ทธ ์žฅ๋ฉด์ด ์ •๋ง ํšŒ์ƒ์ ์ธ ์žฅ๋ฉด์ด ๋˜๊ธธ ๋ฐ”๋ž๊ฑฐ๋“ ์š”.
11:17
a ghostly shot, really wanted to feel like they were still
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์ •๋ง ๊ทธ ๋‘ ์‚ฌ๋žŒ์ด ์•„์ง๋„ ๋‚œํŒŒ์„ ์— ์žˆ๋Š” ๊ฒƒ์ฒ˜๋Ÿผ ๋Š๊ปด์ง€๊ธธ ๋ฐ”๋ž€๊ฑฐ์ฃ .
11:21
on the wreck, essentially. That's where they were buried forever.
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๊ทธ๊ณณ์ด ๊ทธ ๋‘ ์‚ฌ๋žŒ์ด ๋ฌปํžŒ ๊ณณ์ž…๋‹ˆ๋‹ค.
11:24
Or something like that. I just made that up.
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๋ญ ๊ทธ๋Ÿฐ๊ฒ๋‹ˆ๋‹ค. ์ œ๊ฐ€ ์ง€๊ธˆ ์ง€์–ด๋‚ธ ๊ฑฐ๊ตฌ์š”.
11:26
(Laughter)
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(์›ƒ์Œ)
11:29
It was, incidentally, the last time I ever saw daylight.
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์šฐ์—ฐํžˆ๋„ ๊ทธ ์žฅ๋ฉด์ด ์ œ๊ฐ€ ๋‚ฎ์— ๋ณธ ๋งˆ์ง€๋ง‰ ์žฅ๋ฉด์ด์—์š”.
11:31
It was a long film to work on. (Laughter)
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์ •๋ง ์˜ค๋ž˜๋„๋ก ์ž‘์—…ํ–ˆ๋˜ ์˜ํ™”์˜€์–ด์š”. (์›ƒ์Œ)
11:34
Now, "Hugo" was another interesting movie, because
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์ž ์ด์ œ, "์œ ๊ณ "์—์š” ๋˜ ํ•˜๋‚˜์˜ ์žฌ๋ฏธ์žˆ๋Š” ์˜ํ™”์ฃ .
11:36
the movie itself is about film illusions.
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์™œ๋ƒํ•˜๋ฉด ์˜ํ™” ์ž์ฒด๊ฐ€ ์˜ํ™”์˜ ํ™˜์ƒ์— ๋Œ€ํ•œ ๊ฒƒ์ด์—ˆ์–ด์š”.
11:38
It's about how our brain is tricked into seeing a persistence
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๊ทธ๊ฑด ์šฐ๋ฆฌ์˜ ๋‡Œ๊ฐ€ ์˜ํ™”๋ฅผ ๋งŒ๋“œ๋Š” ์ง€์†์ ์ธ ์žฅ๋ฉด์œผ๋กœ
11:41
of vision that creates a motion picture,
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์–ด๋–ป๊ฒŒ ์†์•„ ๋“ค์–ด๊ฐ€๋Š”์ง€๋ฅผ ๋ณด์—ฌ์ค๋‹ˆ๋‹ค.
11:44
and one of the things I had to do is, we โ€”
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์ œ๊ฐ€ ํ–ˆ๋˜ ์ผ์€์š”. ์šฐ๋ฆฌ๊ฐ€ --
11:48
Sasha Baron Cohen is a very clever, very smart guy,
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์‚ฌ์ƒค ์ฝ”ํ—จ์€ ์•„์ฃผ ์˜๋ฆฌํ•˜๊ณ  ๋˜‘๋˜‘ํ•œ ์ฝ”๋ฉ”๋””์–ธ์ด์ฃ .
11:51
comedian, wanted to basically do an homage to the kind of
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๊ทธ ์นœ๊ตฌ๋Š” ๋ฒ„์Šคํ„ฐ ํ‚คํŠผ ๋ฅ˜์˜ ์•„๊ธฐ์ž๊ธฐํ•œ ์žฅ๋ฉด์—
11:53
the Buster Keaton sort of slapstick things, and he wanted
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๋Œ€๋‹จํ•œ ์• ์ •์„ ๊ฐ€์ ธ์„œ
11:55
his leg brace to get caught on a moving train.
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์ž์‹ ์˜ ๋ฐœ๋ชฉ ๋ณด์กฐ๊ธฐ๊ฐ€ ๋‹ฌ๋ฆฌ๋Š” ๊ธฐ์ฐจ์— ๋ผ์–ด๋“ค์–ด ๊ฐ€๋Š” ์žฅ๋ฉด์„ ์ฐ๊ณ  ์‹ถ์–ดํ–ˆ์–ด์š”.
11:59
Very dangerous, very impossible to do, and particularly
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๋„ˆ๋ฌด ์œ„ํ—˜ํ•ด์„œ ๋„์ €ํžˆ ์ฐ์„ ์ˆ˜ ์—†๋Š” ์žฅ๋ฉด์ธ๋ฐ๋‹ค๊ฐ€
12:01
on our stage, because there literally is no way to actually
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์šฐ๋ฆฌ ์ดฌ์˜์žฅ์—์„œ๋Š” ์ฐ์„ ์ˆ˜ ์—†์—ˆ์–ด์š”. ์ด๋Ÿฐ ๊ธฐ์ฐจ๋ฅผ ์ดฌ์˜์žฅ์—์„œ
12:04
move this train, because it fits so snugly into our set.
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์›€์ง์ผ ์ˆ˜ ์—†์—ˆ๊ฑฐ๋“ ์š”. ๊ทธ๋Ÿฌ๊ธฐ์—” ๋„ˆ๋ฌด ๋น„์ข์œผ๋‹ˆ๊นŒ์š”
12:09
So let me show you the scene, and then I basically
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์ œ๊ฐ€ ๊ทธ ์žฅ๋ฉด์„ ๋ณด์—ฌ๋“œ๋ฆด๊ฒŒ์š”. ์ €๋Š” ๊ธฐ๋ณธ์ ์œผ๋กœ
12:12
used the trick that was identified by Sergei Eisenstein,
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์„ธ๋ฅด๊ฒŒ์ด ์•„์ธ์Šˆํƒ€์ธ์ด ์•Œ์•„๋‚ธ ๊ธฐ๊ต๋ฅผ ์‚ฌ์šฉํ–ˆ์Šต๋‹ˆ๋‹ค.
12:15
which is, if you have a camera that's moving with a moving
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๊ทธ๊ฑด, ์›€์ง์ด๋Š” ๋ฌผ์ฒด์™€ ์นด๋ฉ”๋ผ๋ฅผ ๋™์‹œ์— ์›€์ง์ด๋ฉด
12:18
object, what is not moving appears to be moving,
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์ •์ง€ํ•ด ์žˆ๋Š” ๋ฌผ์ฒด๊ฐ€ ์›€์ง์ด๋Š” ๊ฒƒ์ฒ˜๋Ÿผ ๋ณด์ด๊ฒŒ ๋˜๋Š” ๊ฒ๋‹ˆ๋‹ค.
12:21
and what is moving appears to be stopped,
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๊ทธ๋Ÿฌ๋‹ˆ๊นŒ ์›€์ง์ด๋Š” ๋ฌผ์ฒด๊ฐ€ ์ •์ง€ํ•ด ์žˆ๋Š” ๊ฒƒ๋Ÿผ ๋ณด์ด๋Š”๊ฑฐ์ฃ .
12:24
so what you're actually seeing now is the train is not
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์—ฌ๊ธฐ ์ง€๊ธˆ ๋ณด์‹œ๋Š” ์žฅ๋ฉด์—์„œ ์‚ฌ์‹ค ๊ธฐ์ฐจ๋Š” ์ „ํ˜€ ์›€์ง์ด์ง€ ์•Š์•˜์–ด์š”.
12:27
moving at all, and what is actually moving is the floor.
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์‹ค์ œ ์›€์ง์ธ๊ฑด ๋ฐ”๋‹ฅ์ด์—ˆ์Šต๋‹ˆ๋‹ค.
12:32
So this is the shot. That's a little video of
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์žฅ๋ฉด์„ ๋ณด์‹œ์ฃ . ์ €๊ธฐ ๋ณด์‹œ๋Š”๊ฒŒ ์ž‘์€ ๋น„๋””์˜ค์—์š”.
12:35
what you're looking at there, which is our little test,
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์šฐ๋ฆฌ๊ฐ€ ์‹คํ—˜์ ์œผ๋กœ ์‚ฌ์šฉํ•œ๊ฑฐ์ฃ .
12:38
so that's actually what you're seeing, and I thought it was
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๊ทธ ๋‚ด์šฉ์ด ์—ฌ๋Ÿฌ๋ถ„์ด ๋ณด์‹œ๋Š” ์žฅ๋ฉด์ž…๋‹ˆ๋‹ค.
12:41
sort of an interesting thing, because it was, part
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์ €๋Š” ๊ทธ๊ฒŒ ๊ฝค ์žฌ๋ฏธ์žˆ์—ˆ์–ด์š”.
12:43
of the homage of the movie itself is coming up with this
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์˜ํ™”์˜ ๊ฐ€์žฅ ์ค‘์š”ํ•œ ๋ถ€๋ถ„์— ๋ˆ„๊ฐ€ ๋งŒ๋“ค์—ˆ๋Š”์ง€๋„ ๋ชจ๋ฅด๋Š”
12:46
sort of genius trick which I can't take credit for.
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์ด๋Ÿฐ ์ฒœ์žฌ์ ์ธ ๊ธฐ๊ต๊ฐ€ ๋“ค์–ด๊ฐ”๋‹ค๋Š” ์‚ฌ์‹ค ๋•Œ๋ฌธ์ด์ฃ .
12:49
I'd love to but I can't, because it was invented
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์ €๋Š” ์ •๋ง๋กœ ๋ˆ„๊ฐ€ ๋งŒ๋“  ๊ธฐ์ฃ ์ธ์ง€ ์•Œ๊ณ  ์‹ถ์ง€๋งŒ ๊ทธ๋Ÿด ์ˆ˜๊ฐ€ ์—†์–ด์š”.
12:51
like in 1910 or something like that, is I told Marty,
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๊ทธ๊ฒŒ ํ•œ 1910๋…„ ์ฏค ์ฒ˜์Œ ์‚ฌ์šฉ๋˜์—ˆ๋‹ค๊ณ  ๋งˆํ‹ฐ๊ฐ€ ๊ทธ๋Ÿฌ๋”๊ตฐ์š”.
12:56
and it's kind of one of those mind things that it's
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๊ทธ๋Ÿฐ๊ฑด ์‹ค์ œ ์ œ๋Œ€๋กœ ์ž‘๋™๋˜๋Š” ๊ฑธ ๋ณผ ๋•Œ๊นŒ์ง€๋Š”
12:58
really hard to really get until you actually see it work,
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์ •๋ง ํ•ด๋ณด๊ธฐ ์–ด๋ ค์šด ๊ทธ๋Ÿฐ ๊ธฐ๊ต๊ฑฐ๋“ ์š”.
13:00
and I said, you know, what I was going to do, and he said,
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์ œ๊ฐ€ ์–ด๋–ป๊ฒŒ ์ฐ์œผ๋ ค๋Š”์ง€ ๋งํ•˜์ž ๊ทธ๋Š”
13:03
"So, let me see if I can get this straight. The thing with the wheels?
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"์ œ๊ฐ€ ์ œ๋Œ€๋กœ ์ดํ•ดํ•œ๊ฑด์ง€ ๋ชจ๋ฅด๊ฒ ์–ด์š”. ๋ฐ”ํ€ด ๋‹ฌ๋ฆฐ๊ฑฐ๋ผ๊ตฌ์š”?
13:05
That doesn't move."
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์•ˆ ์›€์ง์ด๋Š”๋ฐ์š”?"
13:07
(Laughter) (Applause)
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(์›ƒ์Œ) (๋ฐ•์ˆ˜)
13:10
"And the thing without the wheels, that moves."
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"๊ทธ๋Ÿฐ๋ฐ ๋ฐ”ํ€ด๋„ ์—†๋Š” ๊ฑด ์›€์ง์ธ๋‹ค๊ตฌ์š”."
13:14
Precisely. (Laughter)
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๊ทธ๋ ‡์ฃ . (์›ƒ์Œ)
13:17
Brings me to the next, and final --
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๋‹ค์Œ ์žฅ๋ฉด์œผ๋กœ ๊ฐ€์ฃ . ๋งˆ์ง€๋ง‰์ž…๋‹ˆ๋‹ค. --
13:20
Marty's not going to see this, is he? (Laughter)
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๋งˆํ‹ฐ๋Š” ์ด๊ฑฐ ์•ˆ๋ณด๊ณ  ์žˆ๊ฒ ์ฃ ? (์›ƒ์Œ)
13:24
This isn't viewed outside of -- (Laughter)
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์ด๊ฑด ๋ฐ–์—์„œ ๋ณด๋Š”๊ฒŒ ์•„๋‹ˆ๋ผ -- (์›ƒ์Œ)
13:28
The next illustration is something that, there's like
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๋‹ค์Œ์œผ๋กœ ๋ณด์—ฌ๋“œ๋ฆด ๊ฒƒ์€ ์ „์ฒด๋ฅผ ํ•œ๋ฒˆ์— ์ฐ๋Š” ์ด๋ก ์ž…๋‹ˆ๋‹ค.
13:32
all one shot theory. It's a very elegant way of telling a story,
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์ด๊ฑด ์–ด๋–ค ์ด์•ผ๊ธฐ๋ฅผ ์ „๊ฐœํ•˜๋Š” ์•„์ฃผ ์šฐ์•„ํ•œ ๋ฐฉ๋ฒ•์ด์ฃ .
13:35
especially if you're following somebody on a journey,
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ํŠนํžˆ ๋ˆ„๊ตฐ๊ฐ€๊ฐ€ ์—ฌํ–‰์„ ํ•œ๋‹ค๊ฑฐ๋‚˜
13:37
and that journey basically tells something about
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๊ทธ ์—ฌํ–‰์„ ํ†ตํ•ด์„œ ์–ด๋–ค ์‚ฌ๋žŒ์˜ ์„ฑ๊ฒฉ์„ ๊ฐ„๋žตํ•˜๊ฒŒ
13:39
their personality in a very concise way,
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๋‚˜ํƒ€๋‚ด๋ ค๊ณ  ํ•  ๋•Œ, ์ž์ฃผ ์‚ฌ์šฉ๋ฉ๋‹ˆ๋‹ค.
13:42
and what we wanted to do based on the shot in "Goodfellas,"
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์ด์ œ, "์ข‹์€์นœ๊ตฌ๋“ค(Goodfellas)"๋ผ๋Š” ์˜ํ™”์— ๋‚˜์˜ค๋Š” ์žฅ๋ฉด์„ ๋ณด์—ฌ๋“œ๋ฆด๊นŒ ํ•ฉ๋‹ˆ๋‹ค.
13:44
which is one of the great shots ever,
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๊ฐ€์žฅ ์ž˜ ์ฐ์€ ์˜ํ™” ์ค‘์— ํ•˜๋‚˜์ธ๋ฐ์š”.
13:46
a Martin Scorsese film, of basically following Henry Hill
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๋งˆํ‹ด ์Šค์ฝœ์‹œ์ง€์˜ ์˜ํ™”์—์„œ
13:49
through what it feels like to be a gangster walk
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ํ—จ๋ฆฌ ํž์ด ์ฝ”ํŒŒ์นด๋ฐ”๋‚˜ ํ•ด๋ณ€์„
13:51
going through the Copacabana and being treated in a special way.
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๊ฐฑ๋‹จ์›์ฒ˜๋Ÿผ ํ—ค์ง‘๊ณ  ๊ฑธ์–ด๊ฐˆ ๋•Œ ์–ด๋–ค ๋Š๋‚Œ์ด ๋“ค์ง€ ๋Š๊ปด๋ณด์„ธ์š”.
13:54
He was the master of his universe, and we wanted Hugo
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๊ทธ๋Š” ๊ทธ์˜ ์„ธ์ƒ์—์„œ ์ฃผ์ธ๊ณผ๋„ ๊ฐ™์•˜์ฃ . ์šฐ๋ฆฌ๋Š” ์œ ๊ณ ๋„
13:58
to feel the same way, so we created this shot.
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๊ฐ™์€ ๋Š๋‚Œ์„ ๋ฐ›๊ธธ ์›ํ–ˆ์–ด์š”. ๊ทธ๋ž˜์„œ ์ด๋Ÿฐ ์žฅ๋ฉด์„ ๋งŒ๋“ค์—ˆ์ฃ .
14:00
(Music)
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(์Œ์•…)
14:04
That's Hugo. (Music)
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์ € ์•„์ด๊ฐ€ ์œ ๊ณ ์—์š”. (์Œ์•…)
14:09
And we felt that if we could basically move the camera
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์šฐ๋ฆฌ๋Š” ์นด๋ฉ”๋ผ๊ฐ€ ์•„์ด๋ฅผ ๋”ฐ๋ผ ํ•จ๊ป˜ ์›€์ง์ด๋ฉด
14:12
with him, we would feel what it feels like to be this boy
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์ด ์•„์ด๊ฐ€ ์–ด๋–ป๊ฒŒ ๋Š๋ผ๋Š”์ง€ ๋ณผ ์ˆ˜ ์žˆ์œผ๋ฆฌ๋ผ๊ณ  ์ƒ๊ฐํ–ˆ์ฃ .
14:14
who is basically the master of his universe,
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์ด ์•„์ด๋Š” ์ด ์„ธ๊ณ„์˜ ์ฃผ์ธ์ด๊ฑฐ๋“ ์š”.
14:17
and his universe is, you know, behind the scenes
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๊ทธ ์„ธ๊ณ„๊ฐ€ ๋ฐฐ๊ฒฝ์œผ๋กœ ๋‚˜์˜ต๋‹ˆ๋‹ค.
14:20
in the bowels of this particular train station
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์ด ์•„์ด๋งŒ์ด ํ—ค์ง‘๊ณ  ๋‹ค๋‹ ์ˆ˜ ์žˆ๋Š”
14:22
that only he can actually navigate through
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์ด ํŠน๋ณ„ํ•œ ๊ธฐ์ฐจ์—ญ์˜ ๋‚ด๋ถ€์ฃ .
14:24
and do it this way, and we had to make it feel that
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์•„์ด๋Š” ์ด๋Ÿฐ ์‹์œผ๋กœ ์›€์ง์ด๊ณ  ์šฐ๋ฆฌ๋Š” ๊ทธ๋Ÿฐ๊ฒŒ
14:27
this is his normal, everyday sort of life,
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์•„์ฃผ ์ž์—ฐ์Šค๋Ÿฝ๋„๋ก, ๊ทธ๋Ÿฌ๋‹ˆ๊นŒ ํ•ญ์ƒ ๊ทธ๋Ÿฌ๋Š” ๊ฒƒ์ฒ˜๋Ÿผ ๋งŒ๋“ค์–ด์•ผ ํ–ˆ์Šต๋‹ˆ๋‹ค.
14:29
so the idea of doing it as one shot was very important,
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๊ทธ๋ž˜์„œ ์ด ๋ถ€๋ถ„ ์ „์ฒด๋ฅผ ํ•œ๋ฒˆ์— ์ด์–ด ์ฐ๋Š”๊ฒŒ ์ค‘์š”ํ–ˆ์–ด์š”.
14:32
and of course, in shooting in 3D, which is basically
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๋ฌผ๋ก  3์ฐจ์› ์˜์ƒ์œผ๋กœ ์ฐ์–ด์•ผ ํ–ˆ๊ตฌ์š”.
14:34
it's a huge camera that's hanging off of a giant stick,
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๊ทธ๋Ÿฌ๋ ค๋ฉด ์ปค๋‹ค๋ž€ ๋ง‰๋Œ€๊ธฐ ๊ฐ™์€๋ฐ ๋Œ€ํ˜• ์นด๋ฉ”๋ผ๋ฅผ ๋งค๋‹ฌ์•„์•ผ ํ–ˆ์ฃ .
14:38
so to recreate a steadycam shot was the task,
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๊ทธ๋ ‡๊ฒŒ ํ•ด์„œ ์ด์–ด์ง„ ์˜์ƒ์„ ์ฐ๋Š”๊ฒŒ ์ €ํฌ๋“ค์˜ ์ผ์ด์—ˆ์Šต๋‹ˆ๋‹ค.
14:42
and make it feel kind of like what the reaction you got
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๊ทธ๋ฆฌ๊ณ  ์—ฌ๋Ÿฌ๋ถ„๋“ค์ด "์ข‹์€ ์นœ๊ตฌ๋“ค"์— ๋Œ€ํ•ด ๋ณด์—ฌ์ฃผ์‹ 
14:45
when you saw the "Goodfellas" shot.
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๋ฐ˜์‘์„ ๋Š๋‚„ ์ˆ˜ ์žˆ๋„๋ก ํ•œ ๊ฒ๋‹ˆ๋‹ค .
14:47
So what you're now going to see is how we actually did it.
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์ด์ œ ๋ณด์‹ค ๊ฒƒ์€ ์‹ค์ œ ์ €ํฌ๊ฐ€ ์ดฌ์˜ํ–ˆ๋˜ ๊ณผ์ •์ž…๋‹ˆ๋‹ค.
14:50
It's actually five separate sets shot at five different times
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์‚ฌ์‹ค ์ด๊ฑด 5๊ฐœ๋กœ ๋ถ„๋ฆฌ๋œ ์˜์ƒ์ž…๋‹ˆ๋‹ค. ๊ฐ๊ฐ ๋‹ค๋ฅธ ์‹œ๊ฐ„์— ์ฐ์€๊ฑฐ์ฃ .
14:54
with two different boys.
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๊ทธ๋ฆฌ๊ณ  ๋Œ€์—ญ๋„ ์žˆ์—ˆ์–ด์š”.
14:55
The one on the left is where the shot ends,
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์™ผ์ชฝ์— ๋ณด์‹œ๋Š” ๊ฒƒ์ด ์ด ๋ถ€๋ถ„์˜ ๋์ž…๋‹ˆ๋‹ค.
14:57
and the shot on the right is where it takes over,
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๊ทธ๋ฆฌ๊ณ  ์˜ค๋ฅธ์ชฝ์€ ๋‹ค๋ฅธ ์นด๋ฉ”๋ผ๊ฐ€ ๋„˜๊ฒจ ๋ฐ›์•„ ์ฐ์€๊ฑฐ์ฃ .
15:02
and now we switch boys, so it went from Asa Butterfield,
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์—ฌ๊ธฐ์„œ ์•„์ด๊ฐ€ ๋ฐ”๋€๋‹ˆ๋‹ค. ์ด ์˜ํ™”์˜ ์ฃผ์ธ๊ณต์ธ
15:06
who's the star of the show, to his stand-in. (Music)
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์•„์‚ฌ ๋ฒ„ํ„ฐํ•„๋“œ๋กœ ๋ถ€ํ„ฐ ๊ทธ์˜ ๋Œ€์—ญ์œผ๋กœ ๋ฐ”๋€Œ๋Š”๊ฑฐ์ฃ . (์Œ์•…)
15:10
I wouldn't say his stunt double. There's a crazy rig
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๊ทธ๊ฐ€ ํ–ˆ๋˜ ์Šคํ„ดํŠธ ์žฅ๋ช…์„ ๊ณผ์žฅํ•˜์ง„ ์•Š์œผ๋ ต๋‹ˆ๋‹ค.
15:12
that we built for this. (Music)
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์ด ์žฅ๋ฉด์„ ์ฐ์œผ๋ ค๊ณ  ์–ด์ด์—†๋Š” ๋ฌ˜์ฑ…์„ ์ผ์ฃ . (์Œ์•…)
15:14
And so this is, and now this is set number three
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์ด ์žฅ๋ฉด์€, ์•„ ์ด์ œ 3๋ฒˆ ์žฅ๋ฉด์œผ๋กœ ๋“ค์–ด๊ฐ‘๋‹ˆ๋‹ค.
15:18
we're into, and then we're going to go into, basically
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๊ทธ๋ฆฌ๊ณ  ๋‹ค์Œ์œผ๋กœ ๋„˜์–ด ๊ฐ‘๋‹ˆ๋‹ค.
15:22
the very last moment of the shot is actually
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์žฅ๋ฉด์˜ ๋งˆ์ง€๋ง‰ ๋ถ€๋ถ„์€ ์‚ฌ์‹ค ๊ณ ์ •๋œ ์นด๋ฉ”๋ผ๋กœ ์ฐ๋Š” ์žฅ๋ฉด์ž…๋‹ˆ๋‹ค.
15:25
the steadycam shot. Everything else was shot on cranes
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๋‹ค๋ฅธ ์žฅ๋ฉด์€ ๋ชจ๋‘ ํฌ๋ ˆ์ธ ์œ„์—์„œ ์ฐ์—ˆ๊ฑฐ๋“ ์š”.
15:27
and various things like that, and it literally was done
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๊ทธ๋ฆฌ๊ณ  ๋‹ค๋ฅธ ์—ฌ๋Ÿฌ ์žฅ๋ฉด๋“ค, ์ด๋Ÿฐ ๊ฑด ๋ชจ๋‘
15:29
over five different sets, two different boys, different times,
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๋‘๋ช…์˜ ๋ฐฐ์šฐ๊ฐ€ ๋‹ค๋ฅธ ์‹œ๊ฐ„์— ๋‹ค๋ฅธ ์ดฌ์˜์žฅ์—์„œ ์ฐ์—ˆ์–ด์š”.
15:32
and it all had to feel like it was all one shot, and what was
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ํ•˜์ง€๋งŒ ์ „์ฒด๊ฐ€ ํ•˜๋‚˜๋กœ ์ด์–ด์ง„ ์žฅ๋ฉด๊ฐ™๊ฒŒ ๋งŒ๋“ค์–ด์•ผ ํ–ˆ์ฃ .
15:35
sort of great for me was it was probably
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์ €์—๊ฒŒ ์ด๋Ÿฐ ๊ธฐ์ˆ ์€ ๋Œ€๋‹จํ•˜๊ฒŒ ์ƒ๊ฐ๋˜๋Š”๋ฐ์š”.
15:40
the best-reviewed shot I've ever worked on,
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์ œ๊ฐ€ ์ด์ œ๊นŒ์ง€ ์ดฌ์˜ํ–ˆ๋˜ ์žฅ๋ฉด ์ค‘์— ์ตœ๊ณ ์˜ ํ˜ธํ‰์„ ๋ฐ›์•˜๋˜ ์žฅ๋ฉด์ด์—์š”.
15:42
and, you know, I was kind of proud of it when I was done,
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์ด๊ฑธ ๋งˆ์ณค์„ ๋•Œ, ์ œ ๋‚˜๋ฆ„๋Œ€๋กœ ๋Œ€๋‹จํ•œ ์ž๋ถ€์‹ฌ์„ ๋Š๊ผˆ์Šต๋‹ˆ๋‹ค.
15:45
which is, you should never really be proud of stuff, I guess.
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์•„๋งˆ ์—ฌ๋Ÿฌ๋ถ„๋“ค์€ ์ ˆ๋Œ€ ๊ทธ๋Ÿฐ๊ฑธ๋กœ ์ž๋ถ€์‹ฌ์„ ๋Š๋ผ์‹œ์ง„ ์•Š๊ฒ ์ง€๋งŒ์š”.
15:50
So I was kind of proud of it, and I went to a friend of mine,
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์–ด์จŒ๋“  ์ €๋Š” ์ƒ๋‹นํ•œ ์ž๋ถ€์‹ฌ์„ ๋Š๊ผˆ๋Š”๋ฐ
15:53
and said, "You know, this is, you know, kind of
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์ œ ์นœ๊ตฌ์—๊ฒŒ ์ด๋ ‡๊ฒŒ ์ด์•ผ๊ธฐ ํ–ˆ์Šต๋‹ˆ๋‹ค.
15:55
the best-reviewed shot I've ever worked on.
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" ์ด ์žฅ๋ฉด์ด ๋ง์ด์ง€ ์ด์ œ๊ป ๋‚ด๊ฐ€ ์ผํ–ˆ๋˜ ๊ฒƒ์ค‘์—
15:56
What do you think was the reason?"
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์ตœ๊ณ ์˜ ํ˜ธํ‰์„ ๋ฐ›์€๊ฑฐ๋ผ๋„ค. ๊ทธ ์ด์œ ๊ฐ€ ๋ญ”์ง€ ์•Œ๊ฒ ๋‚˜?"
15:59
And he said, "Because no one knows
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๊ทธ๊ฐ€ ์ด๋Ÿฌ๋”๊ตฐ์š”. " ๊ทธ๊ฑด ๋ง์ด์ง€
16:01
you had anything to do with it."
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์•„๋ฌด๋„ ๋„ค๊ฐ€ ํ•œ ์ž‘์—…์˜ ๊ฒฐ๊ณผ๋ผ๋Š” ์‚ฌ์‹ค์„ ๋ชจ๋ฅด๊ธฐ ๋•Œ๋ฌธ์ด์ง€."
16:03
(Laughter)
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(์›ƒ์Œ)
16:06
So, all I can say is, thank you,
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์ œ๊ฐ€ ๋“œ๋ฆด ๋ง์”€์€ ๊ทธ์ €, ๊ฐ์‚ฌํ•˜๋‹ค๋Š” ๋ง์”€์ž…๋‹ˆ๋‹ค.
16:09
and that's my presentation for you. (Applause)
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์ œ๊ฐ€ ๋ง์”€๋“œ๋ฆด ๊ฐ•์—ฐ์˜ ์ „๋ถ€์ž…๋‹ˆ๋‹ค. (๋ฐ•์ˆ˜)
16:15
(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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