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I can't help but with this wish to think about when you're a little kid

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and you -- all your friends ask you if a genie could

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give you one wish in the world, what would it be?

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And I always answered, "Well, I'd want the wish

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to have the wisdom to know exactly what to wish for."

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Well, then you'd be screwed because you'd know what to wish for

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and you'd used up your wish.

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And now, since we only have one wish -- unlike last year they had three wishes --

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I'm not going to wish for that.

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So let's get to what I would like, which is world peace.

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And I know what you're thinking.

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You're thinking, the poor girl up there --

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she thinks she's at a beauty pageant.

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She's not. She's at the TED Prize. (Laughter)

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But I really do think it makes sense,

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and I think that the first step to world peace is for people to meet each other.

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I've met a lot of different people over the years

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and I've filmed some of them --

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from a dotcom executive in New York that wanted to take over the world

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to a military press officer in Qatar

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that would rather not take over the world.

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If you've seen the film "Control Room" that was sent out,

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you'd understand a little bit why. Thank you.

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(Applause)

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Wow! Some of you watched it.

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That's great. That's great.

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So basically what I'd like to talk about today

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is a way for people to travel,

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to meet people in a different way than --

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because you can't travel all over the world at the same time.

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And a long time ago -- well, about 40 years ago --

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my mom had an exchange student.

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And I'm going to show you slides of the exchange student.

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This is Donna.

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This is Donna at the Statue of Liberty.

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This is my mother and aunt teaching Donna how to ride a bike.

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This is Donna eating ice cream.

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And this is Donna teaching my aunt how to do a Filipino dance.

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Now I really think as the world is getting smaller,

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it becomes more and more important that we learn each other's dance moves,

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that we meet each other, we get to know each other,

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we are able to figure out a way to cross borders,

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to understand each other, to understand people's hopes and dreams,

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what makes them laugh and cry.

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And I know that we can't all do exchange programs,

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and I can't force everybody to travel.

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I've already talked about that to Chris and Amy,

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and they said that there's a problem with this.

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You can't force people of free will, and I totally support that. (Laughter)

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So we're not forcing people to travel.

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But I'd like to talk about another way to travel

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that doesn't require a ship or an airplane,

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and just requires a movie camera, a projector and a screen.

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And that's what I'm going to talk to you about today.

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I was asked that I speak a little bit

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about where I personally come from,

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and Cameron, I don't know how you managed to get out of that one,

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but I think that building bridges is important to me

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because of where I come from.

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I'm the daughter of an American mother

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and an Egyptian-Lebanese-Syrian father.

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So I'm the living product of two cultures coming together.

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No pun intended.

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And I've also been called --

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as an Egyptian-Lebanese-Syrian American with a Persian name --

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the "Middle East Peace Crisis."

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So maybe me starting to take pictures was some kind of way

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to bring both sides of my family together,

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a way to take the worlds with me, a way to tell stories visually.

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It all kind of started that way,

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but I think that I really realized the power of the image

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when I first went to the garbage-collecting village in Egypt,

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when I was about 16. My mother took me there.

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She's somebody that believes strongly in community service

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and decided that this was something that I needed to do

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and so I went there and I met some amazing women there.

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There was a center there

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where they were teaching people how to read and write

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and get vaccinations against the many diseases

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you can get from sorting through garbage.

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And I began to start teaching there.

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I taught English, and I met some incredible women there.

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I met people that live seven people to a room,

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barely can afford their evening meal,

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yet live with this strength of spirit and sense of humor

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and just incredible qualities.

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I got drawn into this community and I began to take pictures there.

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I took pictures of weddings and older family members,

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things that they wanted memories of.

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About two years after I started taking these pictures,

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the UN Conference on Population and Development

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asked me to show them at the conference.

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So I was 18; I was very excited.

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It was my first exhibit of photographs and they were all put up there,

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and after about two days, they all came down except for three.

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People were very upset, very angry

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that I was showing these dirty sides of Cairo,

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and why didn't I cut the dead donkey out of the frame?

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And as I sat there, I got very depressed.

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I looked at this big empty wall with

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three lonely photographs that were, you know,

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very pretty photographs and I was like, I failed at this.

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But I was looking at this intense emotion and intense feeling

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that had come out of people just seeing these photographs.

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I mean, here I was, this 18-year-old pipsqueak that nobody listened to,

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and all of a sudden I put these photographs on the wall

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and there were arguments, and they had to be taken down.

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And I just saw the power of the image.

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And it was incredible.

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And I think the most important reaction that I saw there

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was actually people that would never have gone to the garbage village themselves,

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that would never have seen that the human spirit could thrive

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in such difficult circumstances.

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And I think it was at that point that I decided

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that I wanted to use photography and film

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to somehow bridge gaps, to bridge cultures, bring people together, cross borders.

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And so that's what really kind of started me off.

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Did a stint at MTV, made a film called "Startup.com,"

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and I've done a couple of music films --

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but in 2003, when the war in Iraq was about to start,

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it was a very surreal feeling for me

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because before the war started, there was kind of this media war that was going on.

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And I was watching television in New York

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and there seemed to be just one point of view

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that was coming across, and

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the coverage went from the U.S. State Department to embedded troops

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and what was coming across on the news

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was that there was going to be this clean war and precision bombings,

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and the Iraqis would be greeting the Americans as liberators

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and throwing flowers at their feet in the streets of Baghdad.

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And I knew that there was a completely other story

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that was taking place in the Middle East where my parents were.

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I knew that there was a completely other story being told,

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and I was thinking, how are people supposed to communicate

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with each other when they're getting completely different messages

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and nobody knows what the other's being told?

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How are people supposed to have any kind of common understanding

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or know how to move together into the future?

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So I knew that I had to go there.

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I just wanted to be in the center.

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I had no plan. I had no funding.

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I didn't even have a camera at the time.

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I had somebody bring it there

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because I wanted to get access to Al Jazeera,

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George Bush's favorite channel

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and a place which I was very curious about because

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it's disliked by many governments across the Arab world

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and also called the mouthpiece of Osama Bin Laden

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by some people in the U.S. government.

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So I was thinking, you know, this station that's hated

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by so many people has to be doing something right.

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I've got to go see what this is all about.

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And I also wanted to go see Central Command,

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which was 10 minutes away, and that way

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I could get access to how this news was being created

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on the Arab side reaching the Arab world,

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and on the U.S. and Western side reaching the U.S.

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And when I went there and sat there,

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and met these people that were in the center of it

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and sat with these characters,

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I met some surprising, very complex people.

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And I'd like to share with you a little bit of that experience

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of when you sit with somebody and you film them, and you listen to them,

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and you allow them more than a five-second sound bite,

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the amazing complexity of people emerge.

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Sameer Khader: Business as usual.

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Iraq, and then Iraq, and then Iraq.

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But between us, if I'm offered a job with Fox, I'll take it.

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To change the Arab nightmare into the American dream.

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I still have that dream.

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Maybe I will never be able to do it.

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But I have plans for my children.

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When they finish their high school I will send them to America to study there.

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I will pay for their study.

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And they will stay there.

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Josh Rushing: The night they showed the POWs and the dead soldiers --

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Al Jazeera showed them --

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it was powerful because America doesn't show those kinds of images.

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Most of the news in America won't show really gory images

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and this showed American soldiers in uniform strewn about a floor,

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a cold tile floor.

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And it was revolting.

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It was absolutely revolting.

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It made me sick to my stomach.

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And then what hit me was, the night before,

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there had been some kind of bombing in Basra,

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and Al Jazeera had shown images of the people.

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And they were equally if not more horrifying -- the images were.

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And I remember having seen it in the Al Jazeera office

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and thought to myself, "Wow, that's gross.

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That's bad."

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And then going away, and probably eating dinner or something.

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And it didn't affect me as much.

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So -- the impact it had on me, me realizing that

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I just saw people on the other side,

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and those people in the Al Jazeera office

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must have felt the way I was feeling that night.

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And it upset me on a profound level

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that I wasn't bothered as much the night before.

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It makes me hate war.

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But it doesn't make me believe that we're in world that can live without war yet.

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Jehane Noujaim: I was overwhelmed by the response of the film,

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for we didn't know whether it would be able to get out there.

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We had no funding for it.

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We were incredibly lucky that it got picked up,

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and when we showed the film in both the United States and the Arab world

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we had such incredible reactions.

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It was amazing to see how people were moved by this film.

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In the Arab world -- and it's not really by the film;

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it's by the characters.

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I mean, Josh Rushing was this incredibly complex person

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who was thinking about things.

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And when I showed the film in the Middle East,

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people wanted to meet Josh.

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He kind of redefined us as an American population.

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People started to, you know, ask me, where is this guy now?

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Al Jazeera offered him a job.

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And Sameer, on the other hand,

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was also quite an interesting character for the Arab world to see,

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because it brought out the complexities of this love/hate relationship

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that the Arab world has with the West.

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In the United States, I was blown away by the motivations,

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the positive motivations of the American people

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when they'd see this film.

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You know, we're criticized abroad for

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believing we're the saviors of the world in some way,

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but the flip side of it is that actually,

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when people do see what is happening abroad

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and people's reactions to some of our policy abroad,

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we feel this power that we need to --

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we feel like we have to get the power to change things.

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And I saw this with audiences.

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This woman came up to me after the screening and said, "You know,

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I know this is crazy. I saw the bombs being loaded on the planes;

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I saw the military going out to war.

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But you don't understand people's anger towards us

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until you see the people in the hospitals and the victims of the war,

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and how do we get out of this bubble?

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How do we understand what the other person is thinking?"

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Now, I don't know whether a film can change the world,

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but I know that it starts -- I know the power of it --

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I know that it starts people thinking about how to change the world.

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Now, I'm not a philosopher,

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so I feel like I shouldn't go into great depth on this but

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let film speak for itself and take you to this other world.

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Because I believe that film has the ability to take you across borders.

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I'd like you to just sit back and experience for a couple of minutes

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being taken into another world.

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And these couple clips take you inside

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of two of the most difficult conflicts that we are faced with today.

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Man: As long as there is injustice, someone must make a sacrifice!

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Woman: That's no sacrifice, that's revenge!

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If you kill, there's no difference between victim and occupier.

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Man: If we had airplanes, we wouldn't need martyrs, that's the difference.

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Woman: The difference is that the Israeli military is still stronger.

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Man: Then let us be equal in death.

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We still have Paradise.

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Woman: There is no Paradise! It only exists in your head!

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Man: God forbid!

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May God forgive you.

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If you were not Abu Azzam's daughter ...

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Anyway, I'd rather have Paradise in my head than live in this hell!

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In this life, we're dead anyway.

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One only chooses bitterness when the alternative is even bitterer.

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Woman: And what about us? The ones who remain?

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Will we win that way?

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Don't you see what you're doing is destroying us?

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And that you give Israel an alibi to carry on?

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Man: So with no alibi, Israel will stop?

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Woman: Perhaps. We have to turn it into a moral war.

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Man: How, if Israel has no morals?

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Woman: Be careful!

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Zvika: My wife Ayelet called me and said,

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"There was a suicide bombing in Tel Aviv."

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Ayelet: What do you know about the casualties?

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We're looking for three girls.

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Zvika: We have no information.

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Ayelet: One is wounded here, but we haven't heard from the other three.

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Zvika: I said, "OK, that's Bat-Chen, that's my daughter.

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Are you sure she is dead?"

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They said yes.

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George: On that day, at around 6:30

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I was driving with my wife and daughters to the supermarket.

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When we got to here,

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we saw three Israeli military jeeps parked on the side of the road.

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When we passed by the first jeep,

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they opened fire on us.

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And my 12-year-old daughter Christine

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was killed in the shooting.

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I am the headmaster for all parts.

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George: But there is a teacher that is in charge?

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Tzvika: Yes, I have assistants.

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I deal with children all the time.

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George: At first, I thought it was a strange idea.

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But after thinking logically about it,

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I didn't find any reason why not to meet them

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and let them know of our suffering.

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George: There were many things that touched me.

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We see that there are Palestinians who suffered a lot, who lost children,

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and still believe in the peace process and in reconciliation.

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If we who lost what is most precious can talk to each other,

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and look forward to a better future,

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then everyone else must do so, too.

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Man: Song is something that we communicated with people

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who otherwise would not have understood where we're coming from.

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You could give them a long political speech

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they would still not understand.

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But I tell you, when you finish that song,

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people will be like, "Damn, I know where you niggaz are coming from.

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I know where you guys are coming from.

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Death unto apartheid!"

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Narrator: It's about the liberation struggle.

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It's about those children who took to the streets,

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fighting, screaming, "Free Nelson Mandela!"

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It's about those unions who put down their tools

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and demanded freedom.

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Yes. Yes!

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Freedom!

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Jehane Noujaim: I think everybody's had that feeling of sitting in a theater,

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in a dark room, with other strangers, watching a very powerful film,

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and they felt that feeling of transformation.

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And

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what I'd like to talk about is how can we use that feeling

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to actually create a movement through film?

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I've been listening to the talks

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in some of the conference, and Robert Wright said yesterday

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that if we have an appreciation for another person's humanity,

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then they will have an appreciation for ours.

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And that's what this is about.

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It's about connecting people through film,

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getting these independent voices out there.

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Now Josh Rushing actually ended up leaving the military

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and taking a job with Al Jazeera,

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so his feeling is that he's on Al Jazeera International because

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he feels like he can actually use media

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to bridge the gap between East and West.

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And that's an amazing thing.

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But I've been trying to think about ways

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to give power to these independent voices,

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to give power to the filmmakers,

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to give power to people who are trying to use film for change.

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And there are incredible organizations

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that are out there doing this already.

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There's Witness, that you heard from earlier.

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There's Just Vision, that are working with Palestinians and Israelis

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who are working together for peace, and documenting that process

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and getting interviews out there and using this film

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to take to Congress to show that it's a powerful tool

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to show that this is a woman who's had her daughter killed in an attack,

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and she believes that there are peaceful ways to solve this.

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There's Working Films and there's Current TV,

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which is an incredible platform for people around the world

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to be able to put their -- yes, it's amazing.

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I watched it and I'm just -- I'm blown away by it

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and its potential to bring voices from around the world,

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independent voices from around the world,

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and create a truly democratic, global television.

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So what can we do to create a platform for these organizations,

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to create some momentum,

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to get everybody in the world involved in this movement?

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I'd like for us to imagine for a second -- imagine a day

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when you have everyone coming together from around the world.

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You have towns and villages and theaters all from around the world

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getting together, and sitting in the dark,

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and sharing a communal experience of watching a film,

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or a couple of films, together.

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Watching a film which maybe highlights

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a character that is fighting to live, or just

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a character that defies stereotypes,

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makes a joke, sings a song.

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Comedies, documentaries, shorts.

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This amazing power can be used to change people

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and to bond people together, to cross borders

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and have people feel like they're having a communal experience.

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So if you imagine this day when all around the world

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you have theaters from around the world and places where we project films.

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If you imagine from --

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projecting from Times Square to Tahir Square in Cairo,

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the same film in Ramallah, the same film in Jerusalem.

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You know, we've been talking to a friend of mine

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about using the side of the Great Pyramid

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and the Great Wall of China.

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It's endless what you can imagine,

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in terms of where you can project films

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and where you can have this communal experience.

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And I believe that this one day, if we can create it,

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this one day can create momentum for all of these independent voices.

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There

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isn't an organization which is connecting

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the independent voices of the world to get out there,

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and yet I'm hearing throughout this conference

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that the biggest danger in our future is [lack of] understanding the other

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and having mutual respect for the other and crossing borders.

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And if film can do that,

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and if we can get all of these different locations in the world

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to watch these films together, this could be an incredible day.

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So we've already made a partnership actually, set up through

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somebody from the TED community,

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John Camen, introduced me to

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Steven Apkon, from the Jacob Burns Film Center.

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And we started calling up everybody.

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And in the last week, there have been so many people that have responded to us

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from as close as Palo Alto to Mongolia and to India.

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There are people that want to be a part of this global day of film,

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to be able to provide a platform for independent voices

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and independent films to get out there.

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Now, we've thought about a name for this day

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and I'd like to share this with you.

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Now, the most amazing part of this whole process

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has been sharing ideas and wishes,

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and so I invite you to give brainstorms onto

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how does this day echo into the future?

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How do we use technology to make this day echo into the future,

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so that we can build community

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and have these communities working together, through the Internet?

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There was a time, many, many years ago,

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when all of the continents were stuck together.

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And we called that landmass Pangea.

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So what we'd like to call this day of film is Pangea Cinema Day.

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And if you just imagine

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that all of these people in these towns would be watching,

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then I think that we can actually really make a movement

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towards people understanding each other better.

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I know that it's very intangible, touching people's hearts and souls,

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but the only way that I know how to do it,

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the only way that I know how to reach out

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to somebody's heart and soul all across the world is by showing them a film.

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And I know that there are independent filmmakers and films out there

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that can really make this happen.

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And that's my wish.

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So I guess I'm supposed to give you my one-sentence wish,

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but we're way out of time.

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Chris Anderson: That is an incredible wish.

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Pangea Cinema -- the day the world comes together.

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JN: It's more tangible than world peace, and it's certainly more immediate.

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But it would be the day that the world comes together through film,

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the power of film.

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CA: Ladies and gentlemen, Jehane Noujaim.