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

Prevodilac: Sonja Rodić Lektor: Mile Živković

(Music)

(Muzika)

["Oedipus Rex"]

["Kralj Edip"]

["The Lion King"]

["Kralj lavova"]

["Titus"]

["Tit"]

["Frida"]

["Frida"]

["The Magic Flute"]

["Čarobna frula"]

["Across The Universe"]

["Preko svemira"]

(Applause)

(Aplauz)

Julie Taymor: Thank you. Thank you very much.

Džuli Tejmor: Hvala. Hvala puno.

That's a few samples of the theater, opera

Ovo je bilo nekoliko odlomaka iz predstava, opera

and films that I have done over the last 20 years.

i filmova na kojima sam radila u proteklih 20 godina.

But what I'd like to begin with right now

Ali želela bih da započnem

is to take you back to a moment

tako što ću se vratiti na trenutak

that I went through in Indonesia,

koji sam doživela u Indoneziji,

which is a seminal moment in my life

koji je ključan trenutak u mom životu

and, like all myths,

i, kao i svi mitovi,

these stories need to be retold

ove priče treba prepričavati iznova

and told, lest we forget them.

i iznova, da ne bi bile zaboravljene.

And when I'm in the turbulent times, as we know,

A kada prolazim kroz turbulentan period, kroz koji, kao što svi znamo,

that I am right now, through the crucible

prolazim sada, kroz iskušenja

and the fire of transformation,

i vatru transformacije,

which is what all of you do, actually.

što je ono što svi vi zapravo radite.

Anybody who creates knows there's that point where

Svako ko stvara zna da postoji ona tačka u kojoj

it hasn't quite become the phoenix or the burnt char.

nešto još uvek nije postalo ni feniks, a ni pepeo.

(Laughter)

(Smeh)

And I am right there on the edge,

Ja se nalazim baš tamo, na ivici,

which I'll tell you about, another story.

o čemu ću vam govoriti, ali to je druga priča.

I want to go back to Indonesia

Želim da se vratim na Indoneziju

where I was about 21, 22 years, a long time ago,

gde sam boravila davno, pre jedno 21-22 godine

on a fellowship.

kao stipendista.

And I found myself, after two years there

Nakon dve godine koje sam provela tamo

and performing and learning, on the island of Bali,

u izvođenju performansa i učenju, našla sam se na ostrvu Bali,

on the edge of a crater, Gunung Batur.

na ivici kratera Gunung Batur.

And I was in a village where there was

Bila sam u selu gde je u toku bio

an initiation ceremony for the young men,

obred inicijacije mladića,

a rite of passage.

obred prelaska.

Little did I know that it was mine as well.

Nisam ni slutila da je bio i moj.

And as I sat in this temple square

Dok sam sedela na trgu gde je bio taj hram

under this gigantic beringin banyan tree,

ispod jednog ogromnog beringin banjan drveta,

in the dark, there was no electricity, just the full moon,

u mraku, nije bilo struje, samo pun mesec,

down in this empty square,

dole na tom praznom trgu,

and I heard the most beautiful sounds,

i čula sam najdivnije zvukove,

like a Charles Ives concert

poput koncerta Čarlsa Ajvsa

as I listened to the gamelan music

dok sam slušala gamelan muziku

from all the different villagers that came

svih tih raznih seljana koji su došli

for this once-every-five-years ceremony.

na ovu ceremoniju koja se održava jednom u pet godina.

And I thought I was alone in the dark under this tree.

Mislila sam da sam sama u mraku ispod drveta.

And all of a sudden, out of the dark,

Odjednom, iz mraka

from the other end of the square,

sa drugog kraja trga

I saw the glint of mirrors lit by the moon.

videla sam svetlucanje ogledala koje je osvetljavao mesec.

And these 20 old men who I'd seen before

Onih 20 staraca koje sam videla pre toga

all of a sudden stood up in these full warrior costumes

su najednom ustali, obučeni od glave do pete u ratničke kostime

with the headdress and the spears,

sa šeširima i kopljima.

and no one was in the square, and I was hidden in the shadows.

Na trgu nije bilo nikog, a ja sam bila skrivena u senci.

No one was there, and they came out,

Nije bilo nikoga, a oni su izašli

and they did this incredible dance.

plešući pritom jedan neverovatan ples.

"Huhuhuhuhuhuhuhahahahaha."

"Huhuhuhuhuhuhuhahahahaha."

And they moved their bodies and they came forward,

Pokretali su svoja tela dok su prilazili,

and the lights bounced off these costumes.

svetla su se odbijala od njihovih kostima.

And I've been in theater since I was 11 years old,

Ja sam odlazila u pozorište od svoje 11. godine,

and performing, creating, and I went,

nastupala, stvarala, i moja reakcija je bila:

"Who are they performing for

"Za koga oni prave ovu predstavu

with these elaborate costumes,

u ovim raskošnim kostimima,

these extraordinary headdresses?"

ovim neverovatnim šeširima?"

And I realized that they were performing for God,

Shvatila sam da oni to rade za boga,

whatever that means.

šta god to značilo.

But somehow, it didn't matter about the publicity.

Ali nekako, publicitet uopšte nije bio bitan.

There was no money involved.

Novac nije igrao nikakvu ulogu.

It wasn't going to be written down. It was no news.

Niti je to trebalo negde da bude zapisano. To nije bila novost.

And there were these incredible artists

Ipak, ovi neverovatni umetnici bili su tu,

that felt for me like an eternity as they performed.

a za mene su oni predstavljali večnost dok su izvodili svoju predstavu.

The next moment,

Sledećeg trenutka,

as soon as they finished and disappeared into the shadows,

čim su završili i nestali u senkama.

a young man with a propane lantern came on,

došao je mladić sa propanskim fenjerom,

hung it up on a tree, set up a curtain.

obesio ga je na drvo, podigao zavesu.

The village square was filled with hundreds of people.

Seoski trg bio je ispunjen stotinama ljudi.

And they put on an opera all night long.

I cele noći je na repertoaru bila opera.

Human beings needed the light.

Ljudskim bićima bilo je potrebno svetlo.

They needed the light to see.

Bila im je neophodna svetlost da bi videli.

So what I gained and gathered from this incredible,

Dakle, ono što sam dobila i shvatila iz ovog neverovatnog,

seminal moment in my life as a young artist

ključnog momenta u svom životu kao mladi umetnik

was that you must be true

je da moraš biti do kraja odan

to what you believe as an artist all the way through,

onome u šta veruješ kao umetnik,

but you also have to be aware

ali i da moraš biti svestan

that the audience is out there in our lives at this time,

da je publika u našim životima uvek tu negde u tim trenucima,

and they also need the light.

i da joj je potrebno svetlo.

And it's this incredible balance

To je taj neverovatan balans

that I think that we walk

u kom se krećemo

when we are creating something that is breaking ground,

kada stvaramo nešto revolucionarno,

that's trying to do something you've never seen before,

što ima za cilj da postigne nešto do tada neviđeno,

that imaginary world

taj imaginarni svet

where you actually don't know where you're going to end up,

u kom u stvari ne znate gde ćete završiti,

that's the fine line on the edge of a crater

to je fina linija na rubu kratera

that I have walked my whole life.

po kojoj hodam celog svog života.

What I would like to do now is to tell you

Sada bih želela da vam kažem

a little bit

nešto više

about how I work. Let's take "The Lion King."

o tome kako ja radim. Uzmimo, na primer "Kralja lavova".

You saw many examples of my work up there,

Videli ste mnogo primera mog rada tamo gore,

but it's one that people know.

ali to je ono što ljudi vide.

I start with the notion of the ideograph.

Krećem od pojma ideograma.

An ideograph is like a brush painting, a Japanese brush painting.

Ideogram je poput slike naslikane četkicom, japanske slike.

Three strokes, you get the whole bamboo forest.

Tri poteza i dobili ste celu šumu bambusa.

I go to the concept of "The Lion King"

Uzmem pojam "Kralj lavova"

and I say, "What is the essence of it?

i pomislim, "Šta je srž toga?

What is the abstraction?

Šta je apstrakcija?"

If I were to reduce this entire story

Ako bi trebalo da sažmem celu priču

into one image, what would it be?"

u jednu sliku, šta bi to bilo?"

The circle. The circle. It's so obvious.

Krug. Krug. Tako je očigledno.

The circle of life. The circle of Mufasa's mask.

Krug života. Krug Mufasine maske.

The circle that, when we come to Act II and there's a drought,

Krug koji, kada dođemo do 2. čina i nastane suša

how do you express drought?

kako izraziti sušu?

It's a circle of silk on the floor

To je jedan krug od svile na podu

that disappears into the hole in the stage floor.

koji nestaje u rupu na podu pozornice.

The circle of life comes in the wheels

Krug života dolazi u kolima

of the gazelles that leap.

gazela koje poskakuju.

And you see the mechanics.

Mehanika je vidljiva.

And being a theater person, what I know and love about the theater

Kao neko ko se bavi pozorištem, ono što znam i što volim u vezi sa pozorištem

is that when the audience comes in

je to da kada publika uđe

and they suspend their disbelief,

i suzdržava se u neverici,

when you see men walking or women walking

kada vidite čoveka kako hoda ili ženu kako hoda

with a platter of grass on their heads,

sa pladnjem trave na glavama

you know it's the savanna.

znate da je u pitanju savana.

You don't question that.

Ne dovodite to u pitanje.

I love the apparent truth of theater.

Volim očiglednu istinu pozorišta.

I love that people are willing to fill in the blanks.

Volim što su ljudi voljni da popune prazna mesta.

The audience is willing to say,

Publika je spremna da kaže:

"Oh, I know that's not a real sun.

"Oh, znam da to nije pravo sunce.

You took pieces of sticks.

Uzeli ste komade štapova.

You added silk to the bottom.

Dodali ste svilu na dno.

You suspended these pieces. You let it fall flat on the floor.

Rastegli ste te komade. Ostavili ste da padaju ravno na pod.

And as it rises with the strings, I see that it's a sun.

Kada se podiže sa tim vrpcama, vidim da je to sunce.

But the beauty of it is that it's just silk and sticks.

Ali lepota svega toga je što su to samo svila i štapovi.

And in a way, that is what makes it spiritual.

Na neki način, to je ono što daje duhovnost.

That's what moves you.

To je ono što vas dira.

It's not the actual literal sunrise that's coming.

Ne stvarni, bukvalni izlazak sunca koji predstoji,

It's the art of it.

nego umetnost svega toga.

So in the theater, as much as the story is critical

Tako da u pozorištu, koliko god da su važni priča,

and the book and the language,

knjiga i jezik,

the telling of the story, how it's told,

pričanje priče, način na koji je ona ispričana,

the mechanics, the methods that you use,

mehanika, metodi koje koristite,

is equal to the story itself.

jednako su važni kao i sama priča.

And I'm one who loves high tech and low tech.

Ja sam neko ko voli visoke tehnologije ali i nedostatak tehnologije.

So I could go from --

Koristim sve od -

For instance, I'll show you some "Spider-Man" later,

na primer, pokazaću vam kasnije deo "Spajdermena",

te neverovatne mašine koje pokreću ljude.

these incredible machines that move people along.

But the fact is, without the dancer

Ali činjenica je da, bez plesača

who knows how to use his body and swing on those wires,

koji zna kako da upravlja svojim telom i ljulja se na tim kablovima,

it's nothing.

to ne predstavlja ništa.

So now I'm going to show you

Sada ću da vam pokažem

some clips from the other big project of my life this year,

neke klipove iz još jednog mog velikog životnog projekta ove godine,

"The Tempest."

"Bura".

It's a movie. I did "The Tempest" on a stage three times

U pitanju je film. Do sada sam uradila tri verzije "Bure" na pozorišnoj sceni

in the theater since 1984, '86,

od 1984., '86,

and I love the play.

i obožavam tu dramu.

I did it always with a male Prospero.

Uvek sam je radila sa muškim Prosperom.

And all of a sudden, I thought,

Iznenada, pomislila sam,

"Well, who am I gonna get to play Prospero?

"Onda, koga ću uzeti da igra Prospera?

Why not Helen Mirren? She's a great actor. Why not?"

Recimo Helen Miren? Ona je sjajna glumica. Što da ne?"

And this material really did work for a woman equally as well.

I taj materijal je stvarno jednako dobro odgovarao i ženi.

So now, let's take a look at some of the images

A sada, hajde da pogledamo neke od prizora

from "The Tempest."

iz "Bure".

(Music)

(Muzika)

(Video) Prospera: Hast thou, spirit, performed to the point the tempest that I bade thee?

(Video) Prospera: Jesi li, duše, izveo tu buru tačno kako ti naredih?

Ariel: Sleteo sam na kraljev brod. U svakoj kabini širio sam užas u vidu plamena.

Ariel: I boarded the king's ship. In every cabin, I flamed amazement.

Prospera: At first sight, they have changed eyes.

Prospera: Zagledali su se i zaljubili.

Miranda: Do you love me?

Miranda: Voliš li me?

Ferdinand: Beyond all limit.

Ferdinand: Više od svega na svetu.

HM: They are both in either's powers.

Prospera: Već su u vlasti jedno drugome.

Trinculo: Misery acquaints a man with strange bedfellows.

Trinkulo: Beda upozna čoveka sa neobičnim drugovima u postelji.

(Music)

(Muzika)

Looking for business, governor?

Tražite nešto, upravniče?

Caliban: Hast thou not dropped from heaven?

Kaliban: Zar ti nisi pao s neba?

Stephano: Out of the moon, I do assure thee.

Stefano: Sa Meseca, uveravam te.

Prospera: Caliban!

Prospera: Kaliban!

Caliban: This island is mine.

Kaliban: Ovo je ostrvo moje.

Prospera: For this, be sure, tonight thou shalt have cramps.

Prospera: Zbog ovoga ćeš još noćas, to znaj, imati grčeve.

Antonio: Here lies your brother no better than the earth he lies upon.

Antonio: Tu leži brat tvoj, i ne bi bio bolji od te zemlje na kojoj leži.

Sebastian: Draw thy sword.

Sebastijan: Potegni mač svoj.

And I, the king, shall love thee.

A ja, kralj, biću i prijatelj tvoj.

Prospera: I will plague them all, even to roaring.

Prospera: Sve ću ih na strašne muke udariti.

Ariel: I have made you mad.

Ariel: Al' ja vas zaludeh.

Prospera: We are such stuff as dreams are made on.

Prospera: Mi smo građa od koje se prave snovi,

and our little life is rounded with a sleep.

i naš mali život nam je snom zaokružen.

(Music)

(Muzika)

JT: Okay.

DžT: Dobro.

(Applause)

(Aplauz)

So I went from theater, doing "The Tempest"

Dakle, došla sam iz pozorišta gde sam radila "Buru"

on the stage in a very low-budget production

na pozornici u veoma niskobudžetnoj produkciji

many years ago,

pre mnogo godina,

and I love the play, and I also think

volim tu dramu, a mislim i da

it's Shakespeare's last play,

je to Šekspirova poslednja drama,

and it really lends itself, as you can see, to cinema.

i da je, kao što ste videli, izrazito pogodna za film.

But I'm just going to give you a little example about

Daću vam jedan mali primer kako

how one stages it in theater

se ona postavlja na pozorišnu scenu

and then how one takes that same idea or story

i kako se zatim ista ta ideja ili priča

and moves it into cinema.

može preneti na filmsko platno.

The ideograph that I talked to you about before,

Ideogram o kom sam vam ranije pričala,

what is it for "The Tempest"?

šta je to za "Buru"?

What, if I were to boil it down,

Šta bi, ako bih morala sve da sažmem,

would be the one image that I could

bio taj jedan prizor na koji

hang my hat on for this?

bih u ovom slučaju mogla da se oslonim?

And it was the sand castle,

Bio je to peščani dvorac,

the idea of nurture versus nature,

ideja negovanja naspram prirode,

that we build these civilizations --

mi gradimo civilizacije -

she speaks about it at the end, Helen Mirren's Prospera --

ona govori o tome na kraju, Helen Miren kao Prospera --

we build them, but under nature, under the grand tempest,

gradimo ih, ali pod uticajem sila prirode, u velikoj buri,

these cloud-capped towers, these gorgeous palaces will fade

ti tornjevi koji dosežu oblake, te prekrasne palate će izbledeti

and there will -- leave not a rack behind.

i za sobom - neće ostaviti ni traga.

So in the theater, I started the play,

Počela sam da radim na predstavi u pozorištu,

it was a black sand rake, white cyc,

bile su tu jedne crne grablje za pesak, beli cic,

and there was a little girl, Miranda, on the horizon,

i bila je tu devojčica, Miranda, na horizontu,

building a drip castle, a sand castle.

koja je gradila dvorac od peščanih kapi, dvorac u pesku.

And as she was there on the edge of that stage,

I dok je bila tamo na ivici pozornice,

two stagehands all in black

dva pomoćnika, sva u crnom,

with watering cans ran along the top

sa kantama za zalivanje, trčali su duž vrha

and started to pour water on the sand castle,

i počeli su da sipaju vodu na peščani dvorac

and the sand castle started to drip and sink,

koji je počeo da se osipa i tone,

but before it did,

ali pre toga,

the audience saw the black-clad stagehands.

publika je mogla da vidi pomoćnike na sceni obučene u crno.

The medium was apparent. It was banal. We saw it.

Medijum je bio očigledan. Bilo je providno. Bili smo svesni toga.

But as they started to pour the water,

Ali kada su počeli da sipaju vodu,

the light changed from showing you the black-clad stagehands

svetlo se promenilo tako da je, umesto da osvetljava pomoćnike u crnini

to focusing, this rough magic that we do in theater,

fokusirano, ta gruba magija koju izvodimo u pozorištu,

it focused right on the water itself.

fokusirano je pravo na samu vodu.

And all of a sudden, the audience's perspective changes.

Tako se odjednom menja perspektiva publike.

It becomes something magically large.

Pretvori se u nešto magično veliko.

It becomes the rainstorm.

Postaje kišna oluja.

The masked actors, the puppeteers, they disappear,

Maskirani glumci, lutkari, oni nestaju,

and the audience makes that leap into this world,

i publika uskače u taj novi svet,

into this imaginary world of "The Tempest" actually happening.

u imaginarni svet "Bure" koja se stvarno odigrava.

Now the difference

E sad, razlika

when I went and did it in the cinema,

u odnosu na to kako sam radila filmsku verziju.

I started the actual movie

Film sam započela

with a close-up of a sand castle, a black sand castle,

krupnim planom peščanog dvorca, crnog peščanog dvorca,

and what cinema can do is,

i ono što film može da učini je da

by using camera, perspective,

koristeći kameru menja perspektivu,

and also long shots and close-ups,

i da prikazuje stvari u krupnom planu i iz blizine,

it started on a close-up of the sand castle,

kamera je krenula od snimka peščanog dvorca iz blizine,

and as it pulled away,

i dok je odmicala,

you saw that it was a miniature sitting in the palm

videlo se da je to u stvari minijatura

of the girl's hands.

smeštena na devojčicin dlan.

And so I could play with the medium,

Mogla sam da se poigravam medijumom,

and why I move from one medium to another

i to što sam u mogućnosti to da radim

is to be able to do this.

je i razlog što idem od jednog medijuma do drugog.

Now I'm going to take you to "Spider-Man."

Sada ću vam pokazati "Spajdermena".

(Music)

(Muzika)

(Video) Peter Parker: ♪ Standing on the precipice,

(Video) Piter Parker: ♪ Dok stojim na litici,

I can soar away from this. ♪

Mogu da odletim od svega ovoga. ♪

JT: We're trying to do everything in live theater

DžT: Pokušavamo da u pozorištu uživo predstavimo

that you can't do in two dimensions

sve ono što ne možete da prikažete u dve dimenzije

in film and television.

na filmu i televiziji.

PP: ♪ Rise above yourself and take control. ♪

PP: ♪ Izdigni se iznad sebe i preuzmi kontrolu. ♪

George Tsypin: We're looking at New York from a Spider-Man point of view.

Džordž Cipin: Posmatramo Njujork iz Spajdermenove perspektive.

Spider Man is not bound by gravity.

Spajdermen nije ograničen gravitacijom.

Manhattan in the show is not bound by gravity either.

Menhetn pod snegom takođe nije sputan gravitacijom.

PP: ♪ Be yourself and rise above it all. ♪

PP: ♪ Budi svoj i izdigni se iznad svega toga. ♪

Ensemble: ♪ Sock! Pow! ♪

Ansambl: ♪ Udarac! Eksplozija! ♪

♪ Slam! Scratch! ♪

♪ Tras! Škrip! ♪

Danny Ezralow: I don't want you to even think there's a choreographer.

Deni Ezralou: Ne želim ni da pomislite da koreograf uopšte postoji.

It's real, what's happening.

Sve je stvarno, ono što se dešava.

I prefer you to see people moving,

Draže mi je da vidite kako se ljudi kreću,

and you're going, "Whoa, what was that?"

i da kažete, "O, šta je to bilo?"

(Music)

(Muzika)

JT: If I give enough movement in the sculpture,

DžT: Ako u skulpturu unesem dovoljno pokreta,

and the actor moves their head, you feel like it's alive.

dok glumac pokreće njenu glavu imate osećaj da je ona živa.

It's really comic book live. It's a comic book coming alive.

U stvari to je strip uživo. To je strip koji je oživljen.

(Music)

(Muzika)

Bono: They're mythologies.

Bono: To su mitologije.

They're modern myths, these comic book heroes.

To su moderni mitovi, ti strip junaci.

PP: ♪ They believe. ♪

PP: ♪ Oni veruju. ♪

(Screams)

(Vrisci)

(Music)

(Muzika)

(Applause)

(Aplauz)

JT: Ohhhh. What was that?

DžT: Ohhh. Šta je to bilo?

Circus, rock 'n' roll, drama.

Cirkus, rokenrol, drama.

What the hell are we doing up there on that stage?

Šta mi to, kog vraga, radimo gore na toj bini?

Well, one last story, very quickly.

Poslednja priča, na brzinu.

After I was in that village, I crossed the lake,

Nakon što sam posetila to selo, prešla sam jezero

and I saw that the volcano was erupting

i videla sam vulkan kako eruptira

on the other side, Gunung Batur,

na drugoj strani, Gunung Batur,

and there was a dead volcano next to the live volcano.

a pored živog vulkana nalazio se ugašen vulkan.

I didn't think I'd be swallowed by the volcano,

Nisam mislila da će me vulkan progutati,

and I am here.

uostalom, ovde sam.

But it's very easy to climb up, is it not?

Ali vrlo je lako uspenjati se, zar ne?

You hold on to the roots,

Pridržavate se za korenje,

you put your foot in the little rocks

stavljate stopala u male stene,

and climb up there, and you get to the top,

penjete se gore i stižete do vrha.

and I was with a good friend who was an actor,

Bila sam sa sa svojim dobrim prijateljem glumcem,

and we said, "Let's go up there.

i rekli smo: "Hajde da se popnemo tamo gore.

Let's see if we can come close to the edge

Hajde da vidimo da li možemo da se približimo ivici

of that live volcano."

tog živog vulkana."

And we climbed up and we got to the very top,

Popeli smo se i stigli do samog vrha,

and we're on the edge, on this precipice,

i našli se na samoj ivici ambisa,

Roland disappears into the sulfur smoke

Roland nestaje u sumpornom dimu

at the volcano at the other end,

na drugom kraju vulkana,

and I'm up there alone

a ja sam tu gore sama

on this incredible precipice.

na toj neverovatnoj litici.

Did you hear the lyrics?

Da li ste čuli stihove?

I'm on the precipice looking down

Nalazim se na litici i gledam dole

into a dead volcano to my left.

na mrtav vulkan s moje leve strane.

To my right is sheer shale. It's coming off.

Sa moje desne strane su sami škriljci. Krune se.

I'm in thongs and sarongs. It was many years ago.

Nosim japanke i sarong. Bilo je to pre mnogo godina.

And no hiking boots.

Nemam čizme za planinarenje.

And he's disappeared, this mad French gypsy actor,

On je nestao, taj ludi francuski ciganin glumac,

off in the smoke, and I realize,

nestao u dimu i shvatam da

I can't go back the way that I've come. I can't.

ne mogu da se vratim putem kojim sam došla. Ne mogu.

So I throw away my camera. I throw away my thongs,

Bacam svoj fotoaparat. Izuvam japanke,

and I looked at the line straight in front of me,

pogledala sam u liniju pravo ispred sebe,

and I got down on all fours like a cat,

spustila se na sve četiri poput mačke,

and I held with my knees to either side

i držala sam se kolenima za obe strane

of this line in front of me,

te linije ispred mene,

for 30 yards or 30 feet, I don't know.

nekih 10 ili 30 metara, ne znam.

The wind was massively blowing,

Vetar je silovito duvao,

and the only way I could get to the other side

i jedini način da stignem na drugu stranu

was to look at the line straight in front of me.

bio je da gledam u liniju pravo ispred sebe.

I know you've all been there.

Znam da ste svi bili tamo.

I'm in the crucible right now.

Ja sam sada u teškom iskušenju.

It's my trial by fire.

To je moj test.

It's my company's trials by fire.

To je test za moju kompaniju.

We survive because our theme song is "Rise Above."

Preživljavamo jer je naša naslovna pesma "Izdigni se".

Boy falls from the sky, rise above.

Dečak pada sa neba, izdigni se.

It's right there in the palm of both of our hands,

Tu je na dlanovima obe naše ruke,

of all of my company's hands.

i rukama svih ljudi iz mog tima.

I have beautiful collaborators, and we as creators

Imam predivne saradnike i kao stvaraoci

only get there all together.

to postižemo samo kada smo zajedno.

I know you understand that.

Znam da to shvatate.

And you just stay going forward,

Samo nastavite da idete napred

and then you see this extraordinary thing

i ugledaćete tu neverovatnu stvar

in front of your eyes.

pred svojim očima.

Thank you.

Hvala vam.

(Applause)

(Aplauz)