We are the stories we tell ourselves
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0:00 - 0:03So, I was just asked to go and shoot this film called "Elizabeth."
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0:03 - 0:06And we're all talking about this great English icon and saying,
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0:06 - 0:08"She's a fantastic woman, she does everything.
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0:08 - 0:10How are we going to introduce her?"
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0:10 - 0:12So we went around the table with the studio and the producers and the writer,
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0:12 - 0:14and they came to me and said, "Shekhar, what do you think?"
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0:14 - 0:17And I said, "I think she's dancing."
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0:17 - 0:20And I could see everybody looked at me,
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0:20 - 0:22somebody said, "Bollywood."
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0:22 - 0:24The other said, "How much did we hire him for?"
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0:24 - 0:27And the third said, "Let's find another director."
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0:27 - 0:29I thought I had better change.
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0:29 - 0:31So we had a lot of discussion on how to introduce Elizabeth,
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0:31 - 0:34and I said, "OK, maybe I am too Bollywood.
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0:34 - 0:36Maybe Elizabeth, this great icon, dancing?
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0:36 - 0:38What are you talking about?"
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0:38 - 0:40So I rethought the whole thing,
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0:40 - 0:42and then we all came to a consensus.
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0:42 - 0:44And here was the introduction of this
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0:44 - 0:46great British icon called "Elizabeth."
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0:51 - 0:54Leicester: May I join you, my lady?
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1:03 - 1:06Elizabeth: If it please you, sir.
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1:06 - 1:09(Music)
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1:50 - 1:52Shekhar Kapur: So she was dancing.
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1:52 - 1:55So how many people who saw the film did not get
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1:55 - 1:57that here was a woman in love,
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1:57 - 1:59that she was completely innocent
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1:59 - 2:02and saw great joy in her life, and she was youthful?
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2:02 - 2:05And how many of you did not get that?
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2:06 - 2:08That's the power of visual storytelling,
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2:08 - 2:11that's the power of dance, that's the power of music:
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2:11 - 2:14the power of not knowing.
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2:14 - 2:16When I go out to direct a film,
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2:16 - 2:18every day we prepare too much, we think too much.
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2:18 - 2:21Knowledge becomes a weight upon wisdom.
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2:21 - 2:23You know, simple words lost
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2:23 - 2:27in the quicksand of experience.
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2:27 - 2:29So I come up, and I say,
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2:29 - 2:32"What am I going to do today?" I'm not going to do what I planned to do,
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2:32 - 2:35and I put myself into absolute panic.
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2:35 - 2:38It's my one way of getting rid of my mind,
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2:38 - 2:40getting rid of this mind that says,
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2:40 - 2:42"Hey, you know what you're doing. You know exactly what you're doing.
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2:42 - 2:44You're a director, you've done it for years."
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2:44 - 2:46So I've got to get there
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2:46 - 2:48and be in complete panic.
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2:48 - 2:50It's a symbolic gesture. I tear up the script,
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2:50 - 2:53I go and I panic myself, I get scared.
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2:53 - 2:56I'm doing it right now; you can watch me. I'm getting nervous,
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2:56 - 2:59I don't know what to say, I don't know what I'm doing, I don't want to go there.
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2:59 - 3:01And as I go there, of course, my A.D. says,
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3:01 - 3:04"You know what you're going to do, sir." I say, "Of course I do."
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3:05 - 3:07And the studio executives, they would say,
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3:07 - 3:09"Hey, look at Shekhar. He's so prepared."
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3:09 - 3:11And inside I've just been listening to Nusrat Fateh Ali Khan
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3:11 - 3:13because he's chaotic.
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3:13 - 3:16I'm allowing myself to go into chaos
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3:16 - 3:19because out of chaos, I'm hoping some moments of truth will come.
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3:20 - 3:22All preparation is preparation.
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3:22 - 3:24I don't even know if it's honest.
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3:24 - 3:26I don't even know if it's truthful.
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3:26 - 3:29The truth of it all comes on the moment, organically,
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3:29 - 3:31and if you get five great moments
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3:31 - 3:33of great, organic stuff
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3:33 - 3:35in your storytelling, in your film,
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3:35 - 3:37your film, audiences will get it.
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3:37 - 3:39So I'm looking for those moments, and I'm standing there
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3:39 - 3:41and saying, "I don't know what to say."
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3:41 - 3:43So, ultimately, everybody's looking at you,
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3:43 - 3:45200 people at seven in the morning
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3:45 - 3:47who got there at quarter to seven, and you arrived at seven,
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3:47 - 3:49and everybody's saying,
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3:49 - 3:51"Hey. What's the first thing? What's going to happen?"
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3:51 - 3:53And you put yourself into a state of panic
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3:53 - 3:56where you don't know, and so you don't know.
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3:56 - 3:58And so, because you don't know,
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3:58 - 4:01you're praying to the universe because you're praying to the universe
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4:01 - 4:04that something -- I'm going to try and access the universe
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4:04 - 4:06the way Einstein -- say a prayer --
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4:06 - 4:08accessed his equations,
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4:08 - 4:11the same source. I'm looking for the same source
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4:11 - 4:13because creativity comes from absolutely the same source
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4:13 - 4:15that you meditate somewhere outside yourself,
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4:15 - 4:17outside the universe.
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4:17 - 4:19You're looking for something that comes and hits you.
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4:19 - 4:21Until that hits you, you're not going to do the first shot.
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4:21 - 4:23So what do you do?
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4:23 - 4:25So Cate says, "Shekhar, what do you want me to do?"
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4:25 - 4:28And I say, "Cate, what do you want to do?" (Laughter)
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4:28 - 4:31"You're a great actor, and I like to give to my actors --
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4:31 - 4:33why don't you show me what you want to do?"
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4:33 - 4:35(Laughter)
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4:35 - 4:37What am I doing? I'm trying to buy time.
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4:37 - 4:39I'm trying to buy time.
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4:39 - 4:41So the first thing about storytelling that I learned,
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4:41 - 4:43and I follow all the time is: Panic.
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4:43 - 4:46Panic is the great access of creativity
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4:46 - 4:48because that's the only way to get rid of your mind.
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4:48 - 4:50Get rid of your mind.
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4:50 - 4:52Get out of it, get it out.
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4:52 - 4:54And let's go to the universe because
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4:54 - 4:56there's something out there that is more
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4:56 - 4:58truthful than your mind,
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4:58 - 5:00that is more truthful than your universe.
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5:00 - 5:02[unclear], you said that yesterday. I'm just repeating it
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5:02 - 5:04because that's what I follow constantly
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5:04 - 5:07to find the shunyata somewhere, the emptiness.
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5:07 - 5:10Out of the emptiness comes a moment of creativity.
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5:10 - 5:12So that's what I do.
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5:12 - 5:14When I was a kid -- I was about eight years old.
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5:14 - 5:17You remember how India was. There was no pollution.
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5:17 - 5:21In Delhi, we used to live -- we used to call it a chhat or the khota.
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5:21 - 5:24Khota's now become a bad word. It means their terrace --
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5:24 - 5:26and we used to sleep out at night.
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5:26 - 5:28At school I was being just taught about physics,
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5:28 - 5:31and I was told that
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5:31 - 5:33if there is something that exists,
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5:33 - 5:36then it is measurable.
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5:36 - 5:38If it is not measurable,
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5:38 - 5:40it does not exist.
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5:40 - 5:43And at night I would lie out, looking at the unpolluted sky,
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5:43 - 5:46as Delhi used to be at that time when I was a kid,
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5:46 - 5:49and I used to stare at the universe and say,
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5:49 - 5:51"How far does this universe go?"
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5:51 - 5:53My father was a doctor.
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5:53 - 5:56And I would think, "Daddy, how far does the universe go?"
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5:56 - 5:59And he said, "Son, it goes on forever."
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5:59 - 6:02So I said, "Please measure forever
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6:02 - 6:04because in school they're teaching me
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6:04 - 6:07that if I cannot measure it, it does not exist.
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6:07 - 6:10It doesn't come into my frame of reference."
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6:10 - 6:12So, how far does eternity go?
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6:12 - 6:14What does forever mean?
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6:14 - 6:17And I would lie there crying at night
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6:17 - 6:20because my imagination could not touch creativity.
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6:20 - 6:22So what did I do?
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6:22 - 6:24At that time, at the tender age of seven,
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6:24 - 6:26I created a story.
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6:26 - 6:28What was my story?
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6:28 - 6:31And I don't know why, but I remember the story.
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6:31 - 6:33There was a woodcutter
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6:33 - 6:36who's about to take his ax and chop a piece of wood,
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6:36 - 6:40and the whole galaxy is one atom of that ax.
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6:41 - 6:44And when that ax hits that piece of wood,
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6:44 - 6:46that's when everything will destroy
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6:46 - 6:48and the Big Bang will happen again.
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6:48 - 6:50But all before that there was a woodcutter.
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6:50 - 6:52And then when I would run out of that story,
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6:52 - 6:55I would imagine that woodcutter's universe
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6:55 - 6:58is one atom in the ax of another woodcutter.
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6:58 - 7:01So every time, I could tell my story again and again
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7:01 - 7:03and get over this problem,
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7:03 - 7:06and so I got over the problem.
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7:06 - 7:09How did I do it? Tell a story.
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7:09 - 7:11So what is a story?
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7:11 - 7:14A story is our -- all of us --
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7:14 - 7:17we are the stories we tell ourselves.
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7:17 - 7:21In this universe, and this existence,
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7:21 - 7:23where we live with this duality
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7:23 - 7:25of whether we exist or not
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7:25 - 7:27and who are we,
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7:27 - 7:30the stories we tell ourselves are the stories
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7:30 - 7:32that define the potentialities
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7:32 - 7:34of our existence.
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7:34 - 7:37We are the stories we tell ourselves.
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7:39 - 7:41So that's as wide as we look at stories.
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7:41 - 7:43A story is the relationship
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7:43 - 7:47that you develop between who you are,
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7:47 - 7:49or who you potentially are,
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7:49 - 7:52and the infinite world, and that's our mythology.
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7:52 - 7:55We tell our stories,
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7:55 - 7:58and a person without a story does not exist.
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7:58 - 8:01So Einstein told a story
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8:01 - 8:04and followed his stories and came up with theories
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8:04 - 8:07and came up with theories and then came up with his equations.
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8:07 - 8:10Alexander had a story that his mother used to tell him,
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8:10 - 8:12and he went out to conquer the world.
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8:12 - 8:15We all, everybody, has a story that they follow.
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8:15 - 8:17We tell ourselves stories.
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8:17 - 8:20So, I will go further, and I say,
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8:20 - 8:22"I tell a story, and therefore I exist."
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8:22 - 8:24I exist because there are stories,
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8:24 - 8:26and if there are no stories, we don't exist.
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8:26 - 8:29We create stories to define our existence.
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8:29 - 8:31If we do not create the stories,
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8:31 - 8:34we probably go mad.
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8:34 - 8:37I don't know; I'm not sure, but that's what I've done all the time.
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8:37 - 8:41Now, a film.
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8:41 - 8:43A film tells a story.
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8:43 - 8:46I often wonder when I make a film -- I'm thinking of making a film of the Buddha --
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8:46 - 8:50and I often wonder: If Buddha had all the elements
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8:50 - 8:52that are given to a director --
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8:52 - 8:55if he had music, if he had visuals, if he had a video camera --
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8:55 - 8:57would we get Buddhism better?
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8:57 - 8:59But that puts some kind of burden on me.
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8:59 - 9:01I have to tell a story
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9:01 - 9:03in a much more elaborate way,
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9:03 - 9:05but I have the potential.
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9:05 - 9:07It's called subtext.
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9:07 - 9:09When I first went to Hollywood, they said --
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9:09 - 9:11I used to talk about subtext, and my agent came to me,
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9:11 - 9:14"Would you kindly not talk about subtext?"
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9:14 - 9:16And I said, "Why?" He said, "Because nobody is going to give you a film
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9:16 - 9:18if you talk about subtext.
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9:19 - 9:21Just talk about plot
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9:21 - 9:23and say how wonderful you'll shoot the film,
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9:23 - 9:25what the visuals will be."
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9:25 - 9:27So when I look at a film,
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9:27 - 9:29here's what we look for:
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9:29 - 9:32We look for a story on the plot level,
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9:32 - 9:34then we look for a story
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9:34 - 9:36on the psychological level,
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9:36 - 9:39then we look for a story on the political level,
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9:39 - 9:41then we look at a story
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9:41 - 9:43on a mythological level.
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9:43 - 9:45And I look for stories on each level.
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9:45 - 9:47Now, it is not necessary
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9:47 - 9:50that these stories agree with each other.
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9:50 - 9:52What is wonderful is,
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9:52 - 9:56at many times, the stories will contradict with each other.
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9:56 - 9:58So when I work with Rahman who's a great musician,
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9:58 - 10:02I often tell him, "Don't follow what the script already says.
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10:02 - 10:04Find that which is not.
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10:04 - 10:06Find the truth for yourself,
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10:06 - 10:08and when you find the truth for yourself,
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10:08 - 10:10there will be a truth in it, but it may contradict the plot,
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10:10 - 10:12but don't worry about it."
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10:14 - 10:17So, the sequel to "Elizabeth," "Golden Age."
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10:17 - 10:19When I made the sequel to "Elizabeth," here was a story that
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10:19 - 10:21the writer was telling:
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10:21 - 10:24A woman who was threatened
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10:24 - 10:26by Philip II
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10:26 - 10:28and was going to war,
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10:28 - 10:30and was going to war, fell in love with Walter Raleigh.
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10:30 - 10:33Because she fell in love with Walter Raleigh,
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10:33 - 10:35she was giving up the reasons she was a queen,
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10:35 - 10:37and then Walter Raleigh
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10:37 - 10:39fell in love with her lady in waiting,
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10:39 - 10:41and she had to decide whether she was a queen going to war
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10:41 - 10:44or she wanted...
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10:45 - 10:48Here's the story I was telling:
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10:48 - 10:50The gods up there,
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10:50 - 10:52there were two people.
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10:52 - 10:55There was Philip II, who was divine
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10:55 - 10:58because he was always praying,
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10:58 - 11:00and there was Elizabeth, who was divine,
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11:00 - 11:02but not quite divine because she thought she was divine,
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11:02 - 11:05but the blood of being mortal flowed in her.
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11:05 - 11:08But the divine one was unjust,
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11:08 - 11:10so the gods said,
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11:10 - 11:12"OK, what we need to do is
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11:12 - 11:15help the just one."
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11:15 - 11:17And so they helped the just one.
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11:17 - 11:20And what they did was, they sent Walter Raleigh down
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11:20 - 11:23to physically separate her mortal self
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11:23 - 11:25from her spirit self.
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11:25 - 11:27And the mortal self was the girl
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11:27 - 11:29that Walter Raleigh was sent,
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11:29 - 11:32and gradually he separated her
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11:32 - 11:34so she was free to be divine.
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11:34 - 11:36And the two divine people fought,
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11:36 - 11:38and the gods were on the side of divinity.
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11:38 - 11:41Of course, all the British press got really upset.
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11:42 - 11:45They said, "We won the Armada."
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11:45 - 11:47But I said, "But the storm won the Armada.
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11:47 - 11:49The gods sent the storm."
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11:49 - 11:51So what was I doing?
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11:51 - 11:53I was trying to find a mythic reason
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11:53 - 11:55to make the film.
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11:55 - 11:58Of course, when I asked Cate Blanchett, I said, "What's the film about?"
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11:58 - 12:00She said, "The film's about a woman
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12:00 - 12:03coming to terms with growing older."
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12:03 - 12:05Psychological.
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12:05 - 12:08The writer said "It's about history, plot."
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12:08 - 12:10I said "It's about mythology,
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12:10 - 12:12the gods."
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12:12 - 12:14So let me show you a film --
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12:14 - 12:16a piece from that film --
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12:16 - 12:18and how a camera also --
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12:18 - 12:20so this is a scene, where in my mind,
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12:20 - 12:23she was at the depths of mortality.
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12:23 - 12:26She was discovering what mortality actually means,
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12:26 - 12:29and if she is at the depths of mortality,
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12:29 - 12:31what really happens.
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12:31 - 12:33And she's recognizing the dangers of mortality
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12:33 - 12:36and why she should break away from mortality.
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12:36 - 12:38Remember, in the film, to me,
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12:38 - 12:40both her and her lady in waiting
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12:40 - 12:42were parts of the same body,
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12:42 - 12:44one the mortal self
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12:44 - 12:47and one the spirit self.
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12:47 - 12:49So can we have that second?
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12:49 - 12:51(Music)
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12:51 - 12:53Elizabeth: Bess?
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12:55 - 12:57Bess?
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12:58 - 13:00Bess Throckmorton?
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13:05 - 13:07Bess: Here, my lady.
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13:07 - 13:09Elizabeth: Tell me, is it true?
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13:09 - 13:12Are you with child?
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13:13 - 13:15Are you with child?
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13:15 - 13:17Bess: Yes, my lady.
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13:17 - 13:20Elizabeth: Traitorous.
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13:20 - 13:22You dare to keep secrets from me?
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13:22 - 13:25You ask my permission before you rut,
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13:25 - 13:27before you breed.
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13:27 - 13:29My bitches wear my collars.
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13:29 - 13:31Do you hear me? Do you hear me?
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13:31 - 13:34Walsingham: Majesty. Please, dignity. Mercy.
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13:34 - 13:37Elizabeth: This is no time for mercy, Walsingham.
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13:37 - 13:40You go to your traitor brother and leave me to my business.
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13:40 - 13:42Is it his?
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13:42 - 13:45Tell me. Say it. Is the child his? Is it his?
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13:45 - 13:47Bess: Yes.
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13:47 - 13:49My lady,
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13:49 - 13:52it is my husband's child.
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13:54 - 13:57Elizabeth: Bitch! (Cries)
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13:57 - 13:59Raleigh: Majesty.
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13:59 - 14:02This is not the queen I love and serve.
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14:07 - 14:10Elizabeth: This man has seduced a ward of the queen,
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14:10 - 14:13and she has married without royal consent.
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14:14 - 14:17These offenses are punishable by law. Arrest him.
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14:18 - 14:20Go.
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14:24 - 14:27You no longer have the queen's protection.
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14:28 - 14:31Bess: As you wish, Majesty.
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14:31 - 14:34Elizabeth: Get out! Get out! Get out!
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14:38 - 14:40Get out.
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14:40 - 14:43(Music)
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15:01 - 15:04Shekhar Kapur: So, what am I trying to do here?
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15:05 - 15:07Elizabeth has realized,
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15:07 - 15:09and she's coming face-to-face
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15:09 - 15:11with her own sense of jealousy,
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15:11 - 15:13her own sense of mortality.
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15:13 - 15:16What am I doing with the architecture?
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15:16 - 15:18The architecture is telling a story.
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15:18 - 15:20The architecture is telling a story
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15:20 - 15:22about how, even though she's the most powerful woman
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15:22 - 15:24in the world at that time,
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15:24 - 15:27there is the other, the architecture's bigger.
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15:28 - 15:30The stone is bigger than her because stone is an organic.
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15:30 - 15:32It'll survive her.
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15:32 - 15:35So it's telling you, to me, stone is part of her destiny.
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15:36 - 15:39Not only that, why is the camera looking down?
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15:39 - 15:42The camera's looking down at her because she's in the well.
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15:42 - 15:44She's in the absolute well
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15:44 - 15:47of her own sense of being mortal.
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15:47 - 15:50That's where she has to pull herself out
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15:50 - 15:52from the depths of mortality,
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15:52 - 15:54come in, release her spirit.
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15:54 - 15:56And that's the moment where, in my mind,
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15:56 - 15:59both Elizabeth and Bess are the same person.
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15:59 - 16:01But that's the moment
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16:01 - 16:04she's surgically removing herself from that.
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16:04 - 16:06So the film is operating on
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16:06 - 16:08many many levels in that scene.
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16:08 - 16:10And how we tell stories
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16:10 - 16:13visually, with music, with actors,
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16:13 - 16:15and at each level it's a different sense
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16:15 - 16:18and sometimes contradictory to each other.
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16:19 - 16:24So how do I start all this?
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16:24 - 16:27What's the process of telling a story?
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16:27 - 16:29About ten years ago,
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16:29 - 16:32I heard this little thing from a politician,
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16:32 - 16:35not a politician that was very well respected in India.
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16:35 - 16:38And he said that these people in the cities,
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16:38 - 16:42in one flush, expend as much water
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16:42 - 16:44as you people in the rural areas
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16:44 - 16:47don't get for your family for two days.
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16:47 - 16:50That struck a chord, and I said, "That's true."
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16:50 - 16:52I went to see a friend of mine,
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16:52 - 16:54and he made me wait
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16:54 - 16:56in his apartment in Malabar Hill
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16:56 - 16:58on the twentieth floor,
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16:58 - 17:00which is a really, really upmarket area in Mumbai.
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17:00 - 17:02And he was having a shower for 20 minutes.
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17:02 - 17:04I got bored and left, and as I drove out,
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17:04 - 17:06I drove past the slums of Bombay,
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17:06 - 17:08as you always do,
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17:08 - 17:10and I saw lines and lines in the hot midday sun
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17:10 - 17:13of women and children with buckets
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17:13 - 17:15waiting for a tanker
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17:15 - 17:17to come and give them water.
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17:17 - 17:19And an idea started to develop.
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17:19 - 17:21So how does that become a story?
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17:21 - 17:24I suddenly realized that we are heading towards disaster.
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17:24 - 17:26So my next film is called "Paani"
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17:26 - 17:28which means water.
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17:28 - 17:30And now, out of the mythology of that,
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17:30 - 17:32I'm starting to create a world.
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17:32 - 17:34What kind of world do I create,
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17:34 - 17:37and where does the idea, the design of that come?
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17:37 - 17:39So, in my mind, in the future,
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17:39 - 17:42they started to build flyovers.
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17:42 - 17:44You understand flyovers? Yeah?
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17:44 - 17:46They started to build flyovers
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17:46 - 17:48to get from A to B faster,
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17:48 - 17:51but they effectively went from one area of relative wealth
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17:51 - 17:53to another area of relative wealth.
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17:53 - 17:55And then what they did was
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17:55 - 17:57they created a city above the flyovers.
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17:57 - 18:00And the rich people moved to the upper city
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18:00 - 18:03and left the poorer people in the lower cities,
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18:03 - 18:06about 10 to 12 percent of the people
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18:06 - 18:08have moved to the upper city.
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18:08 - 18:10Now, where does this upper city and lower city come?
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18:10 - 18:12There's a mythology in India about --
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18:12 - 18:15where they say, and I'll say it in Hindi,
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18:15 - 18:19[Hindi]
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18:19 - 18:21Right. What does that mean?
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18:21 - 18:24It says that the rich are always sitting on the shoulders
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18:24 - 18:26and survive on the shoulders of the poor.
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18:26 - 18:28So, from that mythology, the upper city and lower city come.
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18:28 - 18:31So the design has a story.
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18:31 - 18:34And now, what happens is that the people of the upper city,
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18:34 - 18:36they suck up all the water.
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18:36 - 18:38Remember the word I said, suck up.
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18:38 - 18:40They suck up all the water, keep to themselves,
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18:40 - 18:42and they drip feed the lower city.
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18:42 - 18:44And if there's any revolution, they cut off the water.
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18:44 - 18:47And, because democracy still exists,
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18:47 - 18:50there's a democratic way in which you say
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18:50 - 18:53"Well, if you give us what [we want], we'll give you water."
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18:53 - 18:55So, okay my time is up.
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18:55 - 18:57But I can go on about telling you
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18:57 - 18:59how we evolve stories,
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18:59 - 19:02and how stories effectively are who we are
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19:02 - 19:04and how these get translated into the particular discipline
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19:04 - 19:06that I am in, which is film.
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19:06 - 19:09But ultimately, what is a story? It's a contradiction.
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19:09 - 19:11Everything's a contradiction.
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19:11 - 19:13The universe is a contradiction.
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19:13 - 19:15And all of us are constantly looking for harmony.
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19:15 - 19:17When you get up, the night and day is a contradiction.
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19:17 - 19:19But you get up at 4 a.m.
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19:19 - 19:21That first blush of blue is where the night and day
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19:21 - 19:24are trying to find harmony with each other.
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19:24 - 19:27Harmony is the notes that Mozart didn't give you,
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19:27 - 19:29but somehow the contradiction of his notes suggest that.
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19:29 - 19:33All contradictions of his notes suggest the harmony.
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19:33 - 19:35It's the effect of looking for harmony
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19:35 - 19:38in the contradiction that exists in a poet's mind,
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19:38 - 19:41a contradiction that exists in a storyteller's mind.
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19:41 - 19:44In a storyteller's mind, it's a contradiction of moralities.
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19:44 - 19:46In a poet's mind, it's a conflict of words,
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19:46 - 19:49in the universe's mind, between day and night.
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19:49 - 19:51In the mind of a man and a woman,
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19:51 - 19:53we're looking constantly at
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19:53 - 19:55the contradiction between male and female,
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19:55 - 19:57we're looking for harmony within each other.
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19:57 - 20:00The whole idea of contradiction,
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20:00 - 20:03but the acceptance of contradiction
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20:03 - 20:05is the telling of a story, not the resolution.
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20:05 - 20:07The problem with a lot of the storytelling in Hollywood
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20:07 - 20:10and many films, and as [unclear] was saying in his,
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20:10 - 20:13that we try to resolve the contradiction.
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20:13 - 20:15Harmony is not resolution.
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20:15 - 20:17Harmony is the suggestion of a thing
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20:17 - 20:19that is much larger than resolution.
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20:19 - 20:21Harmony is the suggestion of something
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20:21 - 20:24that is embracing and universal
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20:24 - 20:26and of eternity and of the moment.
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20:26 - 20:30Resolution is something that is far more limited.
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20:30 - 20:33It is finite; harmony is infinite.
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20:33 - 20:36So that storytelling, like all other contradictions in the universe,
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20:36 - 20:39is looking for harmony and infinity
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20:39 - 20:42in moral resolutions, resolving one, but letting another go,
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20:42 - 20:46letting another go and creating a question that is really important.
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20:46 - 20:48Thank you very much.
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20:48 - 20:51(Applause)
- Title:
- We are the stories we tell ourselves
- Speaker:
- Shekhar Kapur
- Description:
-
Where does creative inspiration spring from? At TEDIndia, Hollywood/Bollywood director Shekhar Kapur ("Elizabeth," "Mr. India") pinpoints his source of creativity: sheer, utter panic. He shares a powerful way to unleash your inner storyteller.
- Video Language:
- English
- Team:
- closed TED
- Project:
- TEDTalks
- Duration:
- 20:56
TED edited English subtitles for We are the stories we tell ourselves | ||
TED added a translation |