How Film Changes the Way We See the World | Ava DuVernay | TED

So Eva, I told you this already that thank you for the special privilege to see the film. I wish it was something that we could share with each and every one of you, but here I will tell you you absolutely must see origin when it comes to a theater.

嗨，伊娃，我已经告诉过你了，非常感谢能有特权观看这部电影。我希望我们能与每一个人一起分享，但是在这里我告诉你，当这部电影上映时，你绝对必须去影院看。

But knowing the book and how complex and challenging and how deeply researched the thesis of this monumental piece of work that as I said left my heart pounding in my mind, reeling what inspired you to take this project on and translate to a feature film? Well, I'm always happy to sit with you. So thank you for having me. Thank you for having me, folks.

了解这本书以及它有多么复杂、具有挑战性，以及它是如何深入研究这个庞大作品的论点的，就像我说的，这让我的内心激荡不已。那么，是什么激发了你去承担这个项目，并将其翻译成一部特色电影呢？嗯，我总是很开心和你坐在一起。所以感谢你邀请我。非常感谢你们邀请我。

People told me this was an unadaptable book. So the only logical thing to do is to try to adapt it. But the book really grabbed me. The first time I read it, I was taken by the fact that I didn't quite get it. And that frustrated me. So I read it again. And I just read it three times and started to feel really connected to some of the stories and some of the characters that the author uses to bring us into this idea that she has, this thesis that so much of our oppression is linked and that if we embrace the commonalities of our challenges that there was a way forward, a blueprint to trying to kind of combat some of our social ills.

人们告诉我这本书无法改编。所以，唯一的合乎逻辑的做法就是尝试去改编它。但这本书真的吸引了我。我第一次读时，被我没有完全理解它这个事实吸引住了。这让我感到沮丧。所以我又读了一遍。我读了三遍后，开始对一些故事和角色产生了真切的共鸣，作者用它们引导我们进入她的理念，也就是我们的许多压迫是相互关联的，如果我们拥抱我们所面临挑战的共同点，就有一种前进的途径，一种对抗一些社会问题的蓝图。

And so within that, that's a hard movie to make, just that. But I'd heard about these beautiful stories about her life. She's a remarkable woman, Isabel Wilkerson. And so I thought, well, maybe I can use her life and work as the impetus for the story. And so started to try to find those parallels and was really, I felt guided through the process. You know, sometimes she just get in a groove. I have a friend who cooks really well. I really don't. And she just gets in a groove. She can make something out of whatever's in the kitchen. They don't even look like they connect, but she can put it together. This film was the first time I felt like I got in a groove out of everything that I made.

所以，在这种情况下，拍这样一部电影确实很困难，仅此而已。但是我听说关于她生活的那些美丽故事。她是一个了不起的女人，伊莎贝尔·威尔克逊。所以我想，也许可以以她的生活和工作为故事的动力。于是开始寻找那些相似之处，而且在整个过程中感觉自己真的得到了引导。你知道，有时候你只需要进入一种状态。我有个朋友很会做饭，而我不太会。她可以信手拈来地煮出一顿美食，就算厨房里的材料看起来毫无关联，她也能将它们组合在一起。这部电影是我第一次感觉到自己在所有作品中都找到了一种状态。

And that two things, her life and the historical context of cast, somehow fit together, even though on its surface it may not look like it. And I think most people hearing that you've made a film of cast would think, oh, it's going to be a documentary, another one of the stunning Ava documentaries. But it is in fact a narrative film. It's a narrative film where you follow real live actors through the process.

这两件事，她的生活和纯熟的历史背景，在某种程度上能够奇妙地契合在一起，尽管表面上可能看起来并不像是。我想大多数人听到你拍摄了一部有关纯熟的电影时，会认为，哦，这一定是一部纪录片，又是阿娃出色的纪录片之一。但实际上，这是一部故事片。这是一部通过真实演员连续变化的故事片。

Blessively, I was able to work with one of the best actors working today, Anjanae Ellis, who is our lead. She plays Isabel Wilkerson, and she's extraordinary, and was able to figure out a way to tell the story of the deep historical theories and the kind of social phenomena of cast within the story of a woman and her love story with her family and her husband.

幸运的是，我有机会和现今最出色的演员之一安娜娜·埃利斯合作。她是我们的主角，饰演伊莎贝尔·威尔克森。她非常出色，并成功地将深刻的历史理论和种姓社会现象故事与一个女人与家人和丈夫之间的爱情故事相结合。

So we can't share the whole thing, but we can share a trailer with the. A little teaser. We've brought a little teaser.

所以我们不能分享整个内容，但是我们可以与大家分享一个预告片。一个小小的引人瞩目的片段。我们带来了一个小小的预告片。

Go away . Move up . Everywhere. All over the place. There's connective tissue. All of this. All of it. Is linked. All over the place. All over the place. All over the place.

走开。向上移动。到处都是。到处都是。有连结组织。所有这一切。所有的一切。都是相互联系的。到处都是。到处都是。到处都是。

That's a little snippet. Wow, that's good. So what she says and I don't know if you could hear. She says all of this is linked. There's connective tissue to all of it. That was the piece of the book that resonated with me so much. So often in our challenges we feel alone. The way you can know there are folks facing similar things in different places and different times. Similar to people in this room you start to feel they're strength in numbers and there's some foundation to succeed. Along with taking on the challenge of a very complex set of theories that Isabelle Wilkerson puts forward in the book.

这只是一小段话。哇，真好。她说的是，我不知道你能否听到。她说所有这些都是相互关联的。这本书中的这一部分与我产生了很强的共鸣。在我们面对挑战时，往往觉得很孤单。然而，当你知道不同地方和不同时期也有人面临类似问题时，你会感到自己并不孤单。就像在这个房间里的人们一样，你开始感受到众人的力量，以及成功的一些基础。除了接受伊莎贝尔·威尔克森在书中提出的一套非常复杂的理论挑战之外。

You had a lot of other creative choices to make and challenges to get such a film made. Like money. Yeah, like money. Sometimes I wish I should have just gone to sculpture. Just need the piece of, but yes, money is a big thing and you know on its face when you talk to studios and you say you know I want to make a film about cast. It's not top of the list of things that they're interested in making.

你在制作这部电影时，还有很多其他创意选择和挑战需要面对，比如资金。是的，就是资金。有时候我真希望我应该去学雕塑。只需要一块钱，但是是的，资金是个大问题，当你和电影公司谈论你想拍一部关于表演者的电影时，他们并不把这放在他们感兴趣的电影列表的首位。

So the strategy was not even to go there. So not go to each and every studio because I'm a realist. I know that this is a business and I understand that there are certain barriers to entry in the minds of studios as to whether or not this would be successful. So what we were able to do was raise the money independently.

所以策略就是根本不去那些工作室。因为我是一个现实主义者，我知道这是一个商业行为，并且我了解工作室在心中有一些进入门槛，这取决于这个项目是否成功。所以我们能做的就是独立地筹集资金。

That's why Anjanae Ellis is in, yay, independence. Come on, independence. Raise the money independently. That's why Anjanae Ellis's involvement is so extraordinary because she had just come off of the Academy Award nomination for King Richard and could have really done anything. And we asked her to come and join this independent film. She actually asked, we asked each other to come and join this independent film. And we held hands and I took that lady all over the world. We did three continents in 37 days. And I really needed a partner who could stand toe to toe with me and do that work with independent money. Independent means there's no more. This is the money. And there's nothing else coming. And it was a fantastic way to work. It was a freeing in a way.

这就是为什么安贾娜·埃利斯（Anjanae Ellis）参与其中，独立，好啊，独立。来吧，独立。独立地筹集资金。这就是为什么安贾娜·埃利斯的参与如此非凡，因为她刚刚凭借《金色理查德》获得奥斯卡提名，本可以做任何事情。我们邀请她加入这个独立电影。实际上，是我们互相邀请彼此加入这部独立电影。我们牵着手，我带着这位女士走遍全世界。我们在37天内去了三大洲。我真的需要一个能够与我并肩作战的合作伙伴，用独立的资金完成这项工作。独立意味着没有其他的了。这就是资金。没有其他了。这是一种非常棒的工作方式。在某种程度上，它是一种解放。

And I know that with all of your work, you always have a strategy too about what will be the impact of the film. And how does it go beyond seeing the film on screen? What are those plans? I just feel like making the film on its own and being satisfied with the film being out is really just half the work for myself as a filmmaker. I can't just put it out. I need to make sure that it gets to the audience. That it reaches folks. That it's understood. That it's interrogated. That it's shared.

我知道你在工作时总是有一个关于电影影响的策略，而且它是如何超越在屏幕上看到的影片的？那些计划是什么？我只是觉得仅仅制作电影并满足于电影的上映，对我来说只是一半的工作。我不能只是发布它，我需要确保它能够触达观众。让人们看到它。理解它。审视它。分享它。

And so I have this crazy idea that I want every 16 year old in the country to be able to see the film for free if they want. And so. This is not a very. They're four million 16 year olds in the country right now. If we can get a hundred thousand of them in, we'd be. But you know, I want them to be able to see it for free. So I literally made a website over the weekend called Seat16.com. And you just go on a new buy ticket for a 16 year old. It goes into a fund. And when it's time in January, when the film comes out of December or January, when the film comes out, that goes from Seat16.com. Not sweet. Seat. Isn't it cute? And. But the idea that at that age, you're starting to interrogate your place in the world and what the world means to you and how you fit in. And I just think it's such a tender age, especially at this time that young people be able to be autonomous and what they learn. That they're not told what they can't learn. You know what I mean? That they're able to read what they want to read, see what they want to see. And so. That's our little solution. Not at all surprising that that would be one of the aspirations.

所以我有一个疯狂的想法，我希望全国每个16岁的人都可以免费观看这部电影，如果他们愿意的话。因此。这并不是一个很难的事情。目前全国有四百万名16岁的人。如果我们能够让其中的十万人参与进来，我们将会……但是你知道的，我希望他们能够免费观看。所以我实际上在周末做了一个名为Seat16.com的网站。你只需要上去购买一个16岁孩子的电影票。这个钱会进入一个基金。当电影在12月或1月上映时，这笔钱就会从Seat16.com中拿出来。不是sweet，是Seat。这个名字很可爱，不是吗？而且。但是在那个年纪，你开始质问自己在世界中的位置，世界对你意味着什么，以及你如何融入其中。我只是觉得这是一个非常关键的时期，尤其是在这个时候，年轻人应该能够自主选择他们想学什么。他们不会被告知他们不能学什么。你知道我的意思吗？他们应该能够阅读他们想阅读的东西，看他们想看的东西。所以。这就是我们的一个小解决方案。这并不让人惊讶，这将是其中一个愿望。

And then watching it, I mean, it really does change your mind. I found myself thinking every student everywhere in the world should see this film. And make these connective tissue that is so clear in her theory and in the film. Did you believe all the theories when you started or did something change for you in the making of the film? Did you learn something that was new and a discovery? I learned so much. Everything about the Indian people, the Dalit people I knew nothing about. I feel I'm an educated person. I thought I was well read. I'm not. We live in a container that doesn't really promote the idea that we should be learning about people's daily lives in any place other than here. And that is our media. That is our school system. I mean, we've got it in many people in this audience. You know you have to grab your education. You have to continue to educate yourself.

然后观看了这部电影之后，我觉得我的思想真的改变了。我发现自己觉得全世界的每个学生都应该看这部电影。在她的理论和电影中，有着如此清晰的联系。你刚开始的时候相信所有的理论吗？还是在制作电影的过程中有些改变？你有没有学到一些新的和发现的东西？我学到了很多，关于印度人、达利特人，我对这些一无所知。我原以为我是个受过教育的人，读过很多书。但其实我并不是。我们生活在一个不真正推崇我们应该了解其他地方人们日常生活的环境中。这就是我们的媒体，我们的学校制度。我的意思是，我们中的很多人都有这样的体验。你知道你必须抓住你的教育机会，继续不断地学习。

So when we talk about students, it's not just young people. We need to continually be students. I think that's why everybody's here. Continuing to learn, continuing to listen and explore. And so there was so much in the book that I maybe knew a little bit of or I hadn't made connections to, but almost every single thing about the Dalit people in India I had never heard about. I've heard about untouchables in India, but I thought that was like a feudal ancient India, not happening now in the ways that it is. So we explore that in the film. One of the many things that hopefully folks will take away. There's so many things that you take away. And it's actually true of all of your work. Ava, I always feel that there's some revelatory truth that comes, whether it's 13 or it's when they see us.

所以当我们谈论学生时，不仅仅指年轻人。我们需要不断成为学生。我想这就是大家都在这里的原因。持续学习，持续倾听和探索。所以这本书中有很多内容，我可能对其中一部分有些了解，或者没有联系到一起，但是关于印度达利特人的几乎每一件事我都从未听说过。我听说过印度的贱民，但我以为那是封建古代的印度，而不是现在仍然存在的方式。所以我们在电影里探讨了这个问题。这也是希望大家能够从中探索到的众多事情之一。有很多的启示可以得到。实际上，你的所有作品都有这个特点。Ava，我总是感觉你的作品中有一些启示性的真理，无论是《13》还是《当他们看到我们时》。

You were the one who watched it. Thank you, ma'am. Thank you, ma'am. All right, Selma, are you a. Is that my second question? Hey! That was my next name. She knows. That was Queen Sugar. Absolutely no, Queen Sugar. But that seems to be the core, that's something you would say about an Ava DuVernay work. Right? I hope so, but I'm really just making what I'm interested in, what I've learned in trying to pass along. And I learned the information in 13th I wanted to share it.

你是那个看了它的人。谢谢，夫人。谢谢，夫人。好的，Selma，你是……这是我的第二个问题吗？嘿！那是我接下来的名字。她知道。那是《奎恩夏格尔》。当然不是，《奎恩夏格尔》。但那似乎是核心，这是你对艾娃·杜韦尼作品的评述，对吧？希望是这样，但我只是做自己感兴趣的事情，我希望通过所学习的东西来传递给别人。《13th》这本资料让我想分享它。

When I understood what was happening with black farmers in this country, I wanted to make Queen Sugar and everything that's within it. So I just. I'm like a voracious reader who will then go make a movie about it. And it's a beautiful way to further our knowledge because images embed themselves, I believe, images embed their selves in our imagination in a way that words alone don't. You know, we think in picture. You know, when your memories are pictures. And so to be able to approximate that, to render that in film is such an honor that when I first was able to do it and show my work in a theater like this and watch the back of people's heads as they were watching the screen and understand that emotion was coming from the images that I made, it was highly addictive and something that I've never gotten over.

当我了解到这个国家的黑人农民所经历的事情时，我想要制作《Queen Sugar》以及其中的一切。所以我做了这个。就像一位贪婪的读者，然后会去拍一部关于它的电影。这是进一步增加我们知识的美妙方式，因为我相信图像在我们的想象中能够嵌入自己，而仅靠文字是无法做到的。你知道，我们是用图像来思考的。我们的记忆是图像。因此，能够近似地呈现这些图像，将其在电影中展现出来，是如此的荣幸，当我第一次能够这样做，并在这样的剧院中展示我的作品，观察人们观影时的表情，明白那种情感来源于我所创造的图像时，这种感觉非常令人上瘾，而且是我从未能摆脱的东西。

And one of the other characteristics of everything you've done as you've moved and journey through Hollywood's power systems to become one of its most admired people and one of the world's most admired talents, Ava, is that you have also brought other people with you. It wasn't just enough that you made the journey to the top. Because that's not fun. Do you want to be there by yourself? What's the. What's that fun? But you actualize that in creating your own studio and talk to us about array, what its purpose is and what it has done for people of color in the film industry.

而你在好莱坞权力体系中的行动和旅程，成为了最受钦佩的人物之一，也成为了世界上最受钦佩的人才之一，阿娃 (Ava)，还有一个显著特点是你还带领其他人一起前行。仅仅成功登顶不够，因为那样没意思。难道你想一个人独自在那里吗？那有什么好玩的呢？你通过创办自己的工作室实现了这一点，可以跟我们谈谈array，它的目标是什么，它为有色人种在电影行业所做的贡献是什么。

You know, it's a handmade, homemade space. You know, mom and pop stores, this is just a mom store. It's a place where we make what we want to make. We say what we want to say. We educate ourselves and other people. We congregate around ideas and images. But it's really community. I found that it's just boring by yourself. It's not as much fun to be at the. On the red carpet, the awards show that all those things are not as much fun as being able to sit in a theater and watch a movie with folks who are being able to see the movie for free, to discuss a film or to talk about ideas or to listen to a lecture. So we have a small campus in Los Angeles that is a community space, has a small theater. And we just invite people to come in and out and share their imagination and their ideas with us.

你知道的，这是一个手工制作的、家庭制作的空间。你知道的，像是家庭式的小店，这只是一个妈妈开的店。这是一个我们做我们想做的东西的地方。我们说我们想说的话。我们自己和其他人进行教育。我们聚集在思想和形象周围。但实际上，它是一个社区。我发现独自一人实在太无聊了。参加红毯活动、颁奖典礼这些都不如坐在电影院里和一群人一起免费观看电影，讨论电影或者交流思想听讲座来得有趣。所以我们在洛杉矶有一个小的校园，是一个社区空间，有一个小剧场。我们只是邀请人们进进出出，与我们分享他们的想象力和创意。

And we've created an array crew, which is a database so that people of color, women of all kinds, older people, people who are kind of aged out of our industry and no longer called for crew jobs. They're all in a database. All of the people that are outside of the box. You can find them and you can hire them. On Queen's Sugar, we hired all women directors for seven seasons. Whenever you're doing the work, you're just finding ways. Thank you. I'm just really finding ways to have good people around. And it's really, really simple. And to show up for other people, which you have clearly done as a role model, clearly. And I know that you value that. You value the mentors who have been in your life and the mentorship that you've offered to others.

我们创建了一个多元的工作团队，这是一个数据库，使得有色人种、各类女性、年长者，以及那些在我们行业逐渐过气并不再受雇于剧组的人都能够被记录在案。他们都在数据库中。所有那些与传统标准不同的人都能够被找到并聘请。在《女王糖》剧组，我们连续七个季度都聘用了全部由女性导演。每当我们从事工作时，我们只是寻找方法。谢谢您，我只是在寻找方法来让身边有好人。而这其实非常简单。同时，您以身作则，显然已经在关心他人了。我知道您重视那些在您生活中扮演导师的人，以及您向他人提供的指导帮助。

And recently you brought back whatever your early mentor, someone who had inspired you around a concept that I found fascinating. And I'd love you to talk about it a bit. The idea that what we all need to find is our liberated territory. Yes. What is that? So, Hilary Garima. I don't know if anyone here knows Hilary Garima. Hilary Garima. An extraordinary filmmaker, Ethiopian, born filmmaker, who studied at UCLA. Went on to be a professor of film and art at Howard University for many years. Has a small bookstore and cafe called Sankofa. Named after his film, Sankofa. Anybody seen Sankofa here? Sankofa. Sankofa, the most sublime, exquisite, deeply moving, nuanced rendering of any depiction of slavery of African people ever made, in my opinion. Now on Netflix. Distributed by Ray. But, and he has this idea that in order to thrive, not just as an artist, but as a person, you must find and claim your liberated territory.

最近，你重新回到了早期启发你的导师身边，他以一个我觉得很迷人的概念鼓舞着你。我很希望你能稍微谈谈这个概念。这个理念是我们所有人都需要找到我们的解放领域。是的，什么是解放领域？希拉里·加里马。不知道这里是否有人认识希拉里·加里马。希拉里·加里马是一位非凡的电影制片人，出生在埃塞俄比亚，曾在加州大学洛杉矶分校学习。后来在霍华德大学任电影和艺术教授多年。他还拥有一家名为桑科法的小书店和咖啡馆，这个名字是他的电影《桑科法》命名的。有人在这里看过《桑科法》吗？《桑科法》是我认为有史以来描绘非洲人奴隶制最崇高、最精致、最深刻感人的作品了。现在在Netflix上有播出，由雷公司发行。他认为，为了不仅作为艺术家，而且作为一个人能够茁壮成长，你必须找到并宣称属于你的解放领域。

So, for him it was that bookstore, Sankofa. This is my space. This is where I work. This is my physical space where I can be courageous. Where I can dream and fulfill those dreams within my own mind, my own heart, and with my own hands. So, I duplicated that and made our array campus in Los Angeles very much modeled after that. But I've continued to think about liberated territory in other ways, because what if you aren't a filmmaker? Or what if you can't have these buildings? What is the liberated territory? The space where you feel the most courageous. Doesn't even have to be a physical space. It needs to be the space that you can go to inside yourself. That is your safe place. Where you allow yourself to be able to ideate, have bad ideas, talk yourself into ideas, talk yourself out of that idea. Right? And just cultivate that within yourself.

所以，对他来说，那家书店Sankofa就是这样的地方。这是我的空间。这是我工作的地方。这是我的物理空间，我可以在这里勇敢。我可以在自己的心灵中梦想，并实现那些梦想；用自己的双手去创造。所以，我复制了这一点，并使得我们在洛杉矶的阵列校园非常像那样。但我继续以其他方式思考解放的领土，因为如果你不是电影制片人呢？或者你不能拥有这些建筑物呢？解放领土是什么？那个让你感到最勇敢的空间。它甚至不需要是一个物理空间。它应该是你可以在自己内心寻求的空间。那是你的安全地带。在那里，你允许自己去构思，有坏主意，自我说服，摒弃那个主意。对吧？只要在你自己内心中培养这种能力。

So, for me it wasn't just the physical space. It was also freeing my mind and freeing up spaces within me where I said, this is my liberated territory. This is where I go. This is my time. This is the way I do it to just let my mind be free and have courage. Have courage. And so, it doesn't just come. You have to create the right conditions. And that term liberated territory, it stayed with both of us when we talked about it. And it is a bit of a mantra. So, my hope is that I found mine in film. And the hope is that we can all find ours in whatever ways we're able to. You did find yours in film and because you found yours, you're providing liberated territory for many of the rest of us.

对我来说，这不仅仅是关于物理空间。它还是关于解放我的心灵，释放我内心的空间，这是我自由的领土。这是我去的地方。这是我的时间。这是我表达自己的方式，让我的思想自由，并变得勇敢。勇敢。所以，这不是一蹴而就的。你必须创造合适的条件。当我们谈论它时，"自由的领土"这个词留在了我们的心里，它成了一种咒语。所以，我的希望是我在电影中找到了我的自由领土。希望我们每个人都能以自己的方式找到属于自己的自由领土。你在电影中找到了你的，因为你找到了你的，你为我们中的许多人提供了自由的领土。

And I often think when I look at such monumental work, and that really does characterize all of your work. Ava, I think, what could be next? I don't know. And you know what? This is the first time that I've ever not known what my next project is. Since I started, I didn't pick up a camera until I was 32. And so, when I got the opportunity to make films, I just thought the door was going to close. I need to go fast. I need to keep going before they figure out, I don't know what I'm doing. You know, I've never went to film school. I just picked up the camera. And so, I just started running as fast as I can. And this really is the first film, working with Anjani, working with the teams that I've been with for a long time. I was able to, at the end of this process, which we just finished the film a couple of weeks ago, say, I don't have something else next. And that's okay. You know, that's okay to take a second. You know, the door is not going to close. The door is not going to close. And you know what? If it does, I've got my liberated territory. I'll just be right over here. It's okay. But it's the first time I don't know, and it feels really nice.

当我看到这些宏伟的作品时，我经常会想，这真的代表了你所有的作品，Ava。我在想，接下来会是什么呢？我不知道。而你知道吗？这是我第一次不知道下一个项目是什么。自从我开始，直到我32岁才拿起相机。所以，当我有机会制作电影时，我以为那扇门就要关闭了。我需要加快速度。在他们发现我不知道我在做什么之前，我需要继续前进。你知道吗，我从来没有上过电影学院，我只是拿起相机开始跑得飞快。而这真的是第一部电影，和Anjani以及我已经合作了很长时间的团队一起工作。在这个过程结束后，我们几周前刚刚完成了这部电影，我能够说，我没有下一个项目了。而这没关系。你知道，停下来一下是可以接受的。那扇门不会关闭。那扇门不会关闭。而且你知道吗？就算关闭了，我也有我的解放领土。我会就在这里。没关系。但这是我第一次不知道，感觉真的很好。

Well, the door is definitely not going to close. And to go back to origin and the way that I felt watching this film and the way I thought about it so many times since, I wonder what is your highest, deepest aspiration for the way people will respond, what will be the change? What do you want the response to be? I usually resist answering that question because I don't want to prescribe what everyone comes in with their own stuff. I just want, I feel emotional. I want people to enter into the film with an open heart in mind, because I've seen that when people do that, with this work for whatever reason, good things happen. And you just have to stay open. And so often I turn on the TV or I'm watching something, I'm reading something kind of with my mental arms folded. You know, I know what I feel about this. And I already have an opinion. And the hope is that folks, that this film engenders the spirit of, let me just go in and open and see what it's about and see what it brings up in me. That's my hope. I can only say that that is what happens. I think it's quite a gift to be able to create art, to tell stories, to create narrative, that really does change the way people see the world. And you have done that, Ava de Verne. It's a privilege. Thank you. Thank you. Thank you. Thank you. Thank you. Appreciate it. Thank you so much. Thank you. Thank you. Thank you. Thank you. Thanks all.

唔，门肯定无法关闭。回到起点，以及我在观看这部电影时的感受，以及我自那时以来对它思考了那么多次，我想知道你希望人们如何回应，会有什么改变？你希望他们的回应是什么？通常我会抵制回答这个问题，因为我不想预设每个人都带着自己的东西。我只是希望，我感到情感上的激动，希望人们以开放的心态进入电影，因为我发现当人们这样做时，无论出于何种原因，都会发生好事。你只需要保持开放。经常我打开电视或看东西时，我脑子里总是会有自己的判断。我已经对这个有了主见。希望是，这部电影能激发人们的精神，让我去开放地看看它是关于什么，并让我看看它在我身上引发了什么。这是我的希望。我只能说，这确实发生了。我认为能够创造艺术，讲述故事，创建叙事，真正改变人们看世界的方式是一种礼物。Ava de Verne，你做到了。这是一种特权。谢谢。谢谢。谢谢。谢谢。谢谢。非常感谢。谢谢。谢谢。谢谢。谢谢。谢谢大家。