WEBVTT 00:00:00.000 --> 00:00:04.000 I can't help but with this wish to think about when you're a little kid 00:00:04.000 --> 00:00:07.000 and you -- all your friends ask you if a genie could 00:00:07.000 --> 00:00:10.000 give you one wish in the world, what would it be? 00:00:10.000 --> 00:00:14.000 And I always answered, "Well, I'd want the wish 00:00:14.000 --> 00:00:17.000 to have the wisdom to know exactly what to wish for." 00:00:17.000 --> 00:00:19.000 Well, then you'd be screwed because you'd know what to wish for 00:00:19.000 --> 00:00:21.000 and you'd used up your wish. 00:00:21.000 --> 00:00:24.000 And now, since we only have one wish -- unlike last year they had three wishes -- 00:00:24.000 --> 00:00:26.000 I'm not going to wish for that. NOTE Paragraph 00:00:26.000 --> 00:00:31.000 So let's get to what I would like, which is world peace. 00:00:31.000 --> 00:00:33.000 And I know what you're thinking. 00:00:33.000 --> 00:00:35.000 You're thinking, the poor girl up there -- 00:00:35.000 --> 00:00:37.000 she thinks she's at a beauty pageant. 00:00:37.000 --> 00:00:40.000 She's not. She's at the TED Prize. (Laughter) 00:00:40.000 --> 00:00:45.000 But I really do think it makes sense, 00:00:45.000 --> 00:00:49.000 and I think that the first step to world peace is for people to meet each other. 00:00:49.000 --> 00:00:52.000 I've met a lot of different people over the years 00:00:52.000 --> 00:00:54.000 and I've filmed some of them -- 00:00:54.000 --> 00:00:58.000 from a dotcom executive in New York that wanted to take over the world 00:00:58.000 --> 00:01:01.000 to a military press officer in Qatar 00:01:01.000 --> 00:01:03.000 that would rather not take over the world. 00:01:03.000 --> 00:01:06.000 If you've seen the film "Control Room" that was sent out, 00:01:06.000 --> 00:01:08.000 you'd understand a little bit why. Thank you. 00:01:08.000 --> 00:01:09.000 (Applause) 00:01:09.000 --> 00:01:11.000 Wow! Some of you watched it. 00:01:11.000 --> 00:01:13.000 That's great. That's great. NOTE Paragraph 00:01:13.000 --> 00:01:18.000 So basically what I'd like to talk about today 00:01:18.000 --> 00:01:21.000 is a way for people to travel, 00:01:21.000 --> 00:01:25.000 to meet people in a different way than -- 00:01:25.000 --> 00:01:28.000 because you can't travel all over the world at the same time. 00:01:28.000 --> 00:01:33.000 And a long time ago -- well, about 40 years ago -- 00:01:33.000 --> 00:01:37.000 my mom had an exchange student. 00:01:37.000 --> 00:01:39.000 And I'm going to show you slides of the exchange student. 00:01:39.000 --> 00:01:41.000 This is Donna. 00:01:41.000 --> 00:01:44.000 This is Donna at the Statue of Liberty. 00:01:44.000 --> 00:01:48.000 This is my mother and aunt teaching Donna how to ride a bike. 00:01:48.000 --> 00:01:51.000 This is Donna eating ice cream. 00:01:51.000 --> 00:01:58.000 And this is Donna teaching my aunt how to do a Filipino dance. 00:01:58.000 --> 00:02:00.000 Now I really think as the world is getting smaller, 00:02:00.000 --> 00:02:03.000 it becomes more and more important that we learn each other's dance moves, 00:02:03.000 --> 00:02:05.000 that we meet each other, we get to know each other, 00:02:05.000 --> 00:02:09.000 we are able to figure out a way to cross borders, 00:02:09.000 --> 00:02:12.000 to understand each other, to understand people's hopes and dreams, 00:02:12.000 --> 00:02:14.000 what makes them laugh and cry. 00:02:14.000 --> 00:02:17.000 And I know that we can't all do exchange programs, 00:02:17.000 --> 00:02:19.000 and I can't force everybody to travel. 00:02:19.000 --> 00:02:21.000 I've already talked about that to Chris and Amy, 00:02:21.000 --> 00:02:23.000 and they said that there's a problem with this. 00:02:23.000 --> 00:02:26.000 You can't force people of free will, and I totally support that. (Laughter) 00:02:26.000 --> 00:02:28.000 So we're not forcing people to travel. 00:02:28.000 --> 00:02:30.000 But I'd like to talk about another way to travel 00:02:30.000 --> 00:02:34.000 that doesn't require a ship or an airplane, 00:02:34.000 --> 00:02:39.000 and just requires a movie camera, a projector and a screen. 00:02:39.000 --> 00:02:44.000 And that's what I'm going to talk to you about today. NOTE Paragraph 00:02:44.000 --> 00:02:46.000 I was asked that I speak a little bit 00:02:46.000 --> 00:02:48.000 about where I personally come from, 00:02:48.000 --> 00:02:51.000 and Cameron, I don't know how you managed to get out of that one, 00:02:51.000 --> 00:02:56.000 but I think that building bridges is important to me 00:02:56.000 --> 00:02:58.000 because of where I come from. 00:02:58.000 --> 00:03:01.000 I'm the daughter of an American mother 00:03:01.000 --> 00:03:04.000 and an Egyptian-Lebanese-Syrian father. 00:03:04.000 --> 00:03:09.000 So I'm the living product of two cultures coming together. 00:03:09.000 --> 00:03:10.000 No pun intended. 00:03:10.000 --> 00:03:11.000 And I've also been called -- 00:03:11.000 --> 00:03:15.000 as an Egyptian-Lebanese-Syrian American with a Persian name -- 00:03:15.000 --> 00:03:17.000 the "Middle East Peace Crisis." NOTE Paragraph 00:03:17.000 --> 00:03:21.000 So maybe me starting to take pictures was some kind of way 00:03:21.000 --> 00:03:25.000 to bring both sides of my family together, 00:03:25.000 --> 00:03:29.000 a way to take the worlds with me, a way to tell stories visually. 00:03:30.000 --> 00:03:32.000 It all kind of started that way, 00:03:32.000 --> 00:03:35.000 but I think that I really realized the power of the image 00:03:35.000 --> 00:03:39.000 when I first went to the garbage-collecting village in Egypt, 00:03:39.000 --> 00:03:43.000 when I was about 16. My mother took me there. 00:03:44.000 --> 00:03:46.000 She's somebody that believes strongly in community service 00:03:46.000 --> 00:03:48.000 and decided that this was something that I needed to do 00:03:48.000 --> 00:03:53.000 and so I went there and I met some amazing women there. 00:03:53.000 --> 00:03:56.000 There was a center there 00:03:56.000 --> 00:03:58.000 where they were teaching people how to read and write 00:03:59.000 --> 00:04:01.000 and get vaccinations against the many diseases 00:04:01.000 --> 00:04:03.000 you can get from sorting through garbage. 00:04:03.000 --> 00:04:05.000 And I began to start teaching there. 00:04:05.000 --> 00:04:08.000 I taught English, and I met some incredible women there. 00:04:08.000 --> 00:04:13.000 I met people that live seven people to a room, 00:04:13.000 --> 00:04:15.000 barely can afford their evening meal, 00:04:15.000 --> 00:04:18.000 yet live with this strength of spirit and sense of humor 00:04:18.000 --> 00:04:21.000 and just incredible qualities. NOTE Paragraph 00:04:21.000 --> 00:04:25.000 I got drawn into this community and I began to take pictures there. 00:04:25.000 --> 00:04:32.000 I took pictures of weddings and older family members, 00:04:32.000 --> 00:04:34.000 things that they wanted memories of. 00:04:35.000 --> 00:04:38.000 About two years after I started taking these pictures, 00:04:39.000 --> 00:04:43.000 the UN Conference on Population and Development 00:04:43.000 --> 00:04:46.000 asked me to show them at the conference. 00:04:46.000 --> 00:04:49.000 So I was 18; I was very excited. 00:04:49.000 --> 00:04:54.000 It was my first exhibit of photographs and they were all put up there, 00:04:54.000 --> 00:05:00.000 and after about two days, they all came down except for three. 00:05:00.000 --> 00:05:03.000 People were very upset, very angry 00:05:03.000 --> 00:05:06.000 that I was showing these dirty sides of Cairo, 00:05:06.000 --> 00:05:10.000 and why didn't I cut the dead donkey out of the frame? 00:05:10.000 --> 00:05:12.000 And as I sat there, I got very depressed. 00:05:12.000 --> 00:05:16.000 I looked at this big empty wall with 00:05:16.000 --> 00:05:18.000 three lonely photographs that were, you know, 00:05:18.000 --> 00:05:24.000 very pretty photographs and I was like, I failed at this. 00:05:24.000 --> 00:05:30.000 But I was looking at this intense emotion and intense feeling 00:05:30.000 --> 00:05:33.000 that had come out of people just seeing these photographs. 00:05:33.000 --> 00:05:36.000 I mean, here I was, this 18-year-old pipsqueak that nobody listened to, 00:05:36.000 --> 00:05:39.000 and all of a sudden I put these photographs on the wall 00:05:39.000 --> 00:05:41.000 and there were arguments, and they had to be taken down. 00:05:41.000 --> 00:05:43.000 And I just saw the power of the image. 00:05:43.000 --> 00:05:45.000 And it was incredible. 00:05:45.000 --> 00:05:48.000 And I think the most important reaction that I saw there 00:05:48.000 --> 00:05:51.000 was actually people that would never have gone to the garbage village themselves, 00:05:51.000 --> 00:05:55.000 that would never have seen that the human spirit could thrive 00:05:55.000 --> 00:05:57.000 in such difficult circumstances. 00:05:57.000 --> 00:05:59.000 And I think it was at that point that I decided 00:05:59.000 --> 00:06:03.000 that I wanted to use photography and film 00:06:03.000 --> 00:06:08.000 to somehow bridge gaps, to bridge cultures, bring people together, cross borders. 00:06:08.000 --> 00:06:14.000 And so that's what really kind of started me off. NOTE Paragraph 00:06:14.000 --> 00:06:18.000 Did a stint at MTV, made a film called "Startup.com," 00:06:18.000 --> 00:06:22.000 and I've done a couple of music films -- 00:06:22.000 --> 00:06:26.000 but in 2003, when the war in Iraq was about to start, 00:06:26.000 --> 00:06:32.000 it was a very surreal feeling for me 00:06:32.000 --> 00:06:36.000 because before the war started, there was kind of this media war that was going on. 00:06:36.000 --> 00:06:38.000 And I was watching television in New York 00:06:38.000 --> 00:06:40.000 and there seemed to be just one point of view 00:06:40.000 --> 00:06:43.000 that was coming across, and 00:06:43.000 --> 00:06:48.000 the coverage went from the U.S. State Department to embedded troops 00:06:48.000 --> 00:06:52.000 and what was coming across on the news 00:06:52.000 --> 00:06:56.000 was that there was going to be this clean war and precision bombings, 00:06:56.000 --> 00:07:00.000 and the Iraqis would be greeting the Americans as liberators 00:07:00.000 --> 00:07:03.000 and throwing flowers at their feet in the streets of Baghdad. 00:07:03.000 --> 00:07:05.000 And I knew that there was a completely other story 00:07:05.000 --> 00:07:09.000 that was taking place in the Middle East where my parents were. 00:07:09.000 --> 00:07:12.000 I knew that there was a completely other story being told, 00:07:12.000 --> 00:07:15.000 and I was thinking, how are people supposed to communicate 00:07:15.000 --> 00:07:17.000 with each other when they're getting completely different messages 00:07:17.000 --> 00:07:20.000 and nobody knows what the other's being told? 00:07:20.000 --> 00:07:23.000 How are people supposed to have any kind of common understanding 00:07:23.000 --> 00:07:26.000 or know how to move together into the future? 00:07:26.000 --> 00:07:28.000 So I knew that I had to go there. 00:07:28.000 --> 00:07:30.000 I just wanted to be in the center. 00:07:30.000 --> 00:07:33.000 I had no plan. I had no funding. 00:07:33.000 --> 00:07:35.000 I didn't even have a camera at the time. 00:07:35.000 --> 00:07:37.000 I had somebody bring it there 00:07:37.000 --> 00:07:40.000 because I wanted to get access to Al Jazeera, 00:07:40.000 --> 00:07:42.000 George Bush's favorite channel 00:07:42.000 --> 00:07:45.000 and a place which I was very curious about because 00:07:45.000 --> 00:07:49.000 it's disliked by many governments across the Arab world 00:07:49.000 --> 00:07:53.000 and also called the mouthpiece of Osama Bin Laden 00:07:53.000 --> 00:07:55.000 by some people in the U.S. government. NOTE Paragraph 00:07:55.000 --> 00:07:59.000 So I was thinking, you know, this station that's hated 00:07:59.000 --> 00:08:01.000 by so many people has to be doing something right. 00:08:01.000 --> 00:08:05.000 I've got to go see what this is all about. 00:08:05.000 --> 00:08:07.000 And I also wanted to go see Central Command, 00:08:07.000 --> 00:08:09.000 which was 10 minutes away, and that way 00:08:09.000 --> 00:08:13.000 I could get access to how this news was being created 00:08:14.000 --> 00:08:16.000 on the Arab side reaching the Arab world, 00:08:16.000 --> 00:08:19.000 and on the U.S. and Western side reaching the U.S. NOTE Paragraph 00:08:19.000 --> 00:08:21.000 And when I went there and sat there, 00:08:21.000 --> 00:08:24.000 and met these people that were in the center of it 00:08:24.000 --> 00:08:27.000 and sat with these characters, 00:08:27.000 --> 00:08:31.000 I met some surprising, very complex people. 00:08:31.000 --> 00:08:36.000 And I'd like to share with you a little bit of that experience 00:08:36.000 --> 00:08:39.000 of when you sit with somebody and you film them, and you listen to them, 00:08:39.000 --> 00:08:42.000 and you allow them more than a five-second sound bite, 00:08:43.000 --> 00:08:48.000 the amazing complexity of people emerge. NOTE Paragraph 00:08:51.000 --> 00:08:54.000 Sameer Khader: Business as usual. 00:08:54.000 --> 00:08:58.000 Iraq, and then Iraq, and then Iraq. 00:08:59.000 --> 00:09:06.000 But between us, if I'm offered a job with Fox, I'll take it. 00:09:10.000 --> 00:09:16.000 To change the Arab nightmare into the American dream. 00:09:19.000 --> 00:09:22.000 I still have that dream. 00:09:22.000 --> 00:09:26.000 Maybe I will never be able to do it. 00:09:26.000 --> 00:09:30.000 But I have plans for my children. 00:09:30.000 --> 00:09:33.000 When they finish their high school I will send them to America to study there. 00:09:33.000 --> 00:09:36.000 I will pay for their study. 00:09:36.000 --> 00:09:39.000 And they will stay there. 00:09:45.000 --> 00:09:49.000 Josh Rushing: The night they showed the POWs and the dead soldiers -- 00:09:49.000 --> 00:09:51.000 Al Jazeera showed them -- 00:09:51.000 --> 00:09:53.000 it was powerful because America doesn't show those kinds of images. 00:09:53.000 --> 00:09:55.000 Most of the news in America won't show really gory images 00:09:55.000 --> 00:09:59.000 and this showed American soldiers in uniform strewn about a floor, 00:09:59.000 --> 00:10:01.000 a cold tile floor. 00:10:01.000 --> 00:10:03.000 And it was revolting. 00:10:03.000 --> 00:10:05.000 It was absolutely revolting. 00:10:05.000 --> 00:10:07.000 It made me sick to my stomach. 00:10:07.000 --> 00:10:09.000 And then what hit me was, the night before, 00:10:09.000 --> 00:10:12.000 there had been some kind of bombing in Basra, 00:10:12.000 --> 00:10:18.000 and Al Jazeera had shown images of the people. 00:10:18.000 --> 00:10:22.000 And they were equally if not more horrifying -- the images were. 00:10:22.000 --> 00:10:25.000 And I remember having seen it in the Al Jazeera office 00:10:25.000 --> 00:10:28.000 and thought to myself, "Wow, that's gross. 00:10:28.000 --> 00:10:31.000 That's bad." 00:10:31.000 --> 00:10:34.000 And then going away, and probably eating dinner or something. 00:10:34.000 --> 00:10:37.000 And it didn't affect me as much. 00:10:37.000 --> 00:10:40.000 So -- the impact it had on me, me realizing that 00:10:40.000 --> 00:10:42.000 I just saw people on the other side, 00:10:42.000 --> 00:10:45.000 and those people in the Al Jazeera office 00:10:45.000 --> 00:10:47.000 must have felt the way I was feeling that night. 00:10:47.000 --> 00:10:50.000 And it upset me on a profound level 00:10:50.000 --> 00:10:53.000 that I wasn't bothered as much the night before. 00:10:53.000 --> 00:10:56.000 It makes me hate war. 00:10:56.000 --> 00:10:59.000 But it doesn't make me believe that we're in world that can live without war yet. NOTE Paragraph 00:10:59.000 --> 00:11:02.000 Jehane Noujaim: I was overwhelmed by the response of the film, 00:11:02.000 --> 00:11:05.000 for we didn't know whether it would be able to get out there. 00:11:05.000 --> 00:11:06.000 We had no funding for it. 00:11:06.000 --> 00:11:11.000 We were incredibly lucky that it got picked up, 00:11:11.000 --> 00:11:15.000 and when we showed the film in both the United States and the Arab world 00:11:16.000 --> 00:11:18.000 we had such incredible reactions. 00:11:18.000 --> 00:11:21.000 It was amazing to see how people were moved by this film. 00:11:21.000 --> 00:11:24.000 In the Arab world -- and it's not really by the film; 00:11:24.000 --> 00:11:26.000 it's by the characters. 00:11:26.000 --> 00:11:30.000 I mean, Josh Rushing was this incredibly complex person 00:11:30.000 --> 00:11:32.000 who was thinking about things. 00:11:32.000 --> 00:11:34.000 And when I showed the film in the Middle East, 00:11:34.000 --> 00:11:37.000 people wanted to meet Josh. 00:11:37.000 --> 00:11:40.000 He kind of redefined us as an American population. 00:11:40.000 --> 00:11:45.000 People started to, you know, ask me, where is this guy now? 00:11:45.000 --> 00:11:47.000 Al Jazeera offered him a job. 00:11:49.000 --> 00:11:51.000 And Sameer, on the other hand, 00:11:51.000 --> 00:11:55.000 was also quite an interesting character for the Arab world to see, 00:11:55.000 --> 00:11:58.000 because it brought out the complexities of this love/hate relationship 00:11:58.000 --> 00:12:01.000 that the Arab world has with the West. NOTE Paragraph 00:12:01.000 --> 00:12:06.000 In the United States, I was blown away by the motivations, 00:12:06.000 --> 00:12:09.000 the positive motivations of the American people 00:12:09.000 --> 00:12:11.000 when they'd see this film. 00:12:11.000 --> 00:12:14.000 You know, we're criticized abroad for 00:12:14.000 --> 00:12:16.000 believing we're the saviors of the world in some way, 00:12:16.000 --> 00:12:19.000 but the flip side of it is that actually, 00:12:19.000 --> 00:12:22.000 when people do see what is happening abroad 00:12:22.000 --> 00:12:25.000 and people's reactions to some of our policy abroad, 00:12:25.000 --> 00:12:27.000 we feel this power that we need to -- 00:12:27.000 --> 00:12:29.000 we feel like we have to get the power to change things. 00:12:29.000 --> 00:12:31.000 And I saw this with audiences. 00:12:31.000 --> 00:12:36.000 This woman came up to me after the screening and said, "You know, 00:12:36.000 --> 00:12:38.000 I know this is crazy. I saw the bombs being loaded on the planes; 00:12:38.000 --> 00:12:40.000 I saw the military going out to war. 00:12:40.000 --> 00:12:43.000 But you don't understand people's anger towards us 00:12:43.000 --> 00:12:47.000 until you see the people in the hospitals and the victims of the war, 00:12:47.000 --> 00:12:49.000 and how do we get out of this bubble? NOTE Paragraph 00:12:49.000 --> 00:12:53.000 How do we understand what the other person is thinking?" 00:12:54.000 --> 00:12:58.000 Now, I don't know whether a film can change the world, 00:12:58.000 --> 00:13:00.000 but I know that it starts -- I know the power of it -- 00:13:00.000 --> 00:13:04.000 I know that it starts people thinking about how to change the world. NOTE Paragraph 00:13:04.000 --> 00:13:06.000 Now, I'm not a philosopher, 00:13:06.000 --> 00:13:10.000 so I feel like I shouldn't go into great depth on this but 00:13:10.000 --> 00:13:13.000 let film speak for itself and take you to this other world. 00:13:13.000 --> 00:13:17.000 Because I believe that film has the ability to take you across borders. 00:13:17.000 --> 00:13:21.000 I'd like you to just sit back and experience for a couple of minutes 00:13:21.000 --> 00:13:23.000 being taken into another world. 00:13:23.000 --> 00:13:26.000 And these couple clips take you inside 00:13:26.000 --> 00:13:30.000 of two of the most difficult conflicts that we are faced with today. NOTE Paragraph 00:13:39.000 --> 00:13:43.000 Man: As long as there is injustice, someone must make a sacrifice! NOTE Paragraph 00:13:43.000 --> 00:13:45.000 Woman: That's no sacrifice, that's revenge! 00:13:45.000 --> 00:13:51.000 If you kill, there's no difference between victim and occupier. NOTE Paragraph 00:13:51.000 --> 00:13:58.000 Man: If we had airplanes, we wouldn't need martyrs, that's the difference. NOTE Paragraph 00:13:58.000 --> 00:14:03.000 Woman: The difference is that the Israeli military is still stronger. NOTE Paragraph 00:14:03.000 --> 00:14:05.000 Man: Then let us be equal in death. 00:14:05.000 --> 00:14:07.000 We still have Paradise. NOTE Paragraph 00:14:07.000 --> 00:14:11.000 Woman: There is no Paradise! It only exists in your head! NOTE Paragraph 00:14:11.000 --> 00:14:13.000 Man: God forbid! 00:14:13.000 --> 00:14:15.000 May God forgive you. 00:14:15.000 --> 00:14:18.000 If you were not Abu Azzam's daughter ... 00:14:20.000 --> 00:14:23.000 Anyway, I'd rather have Paradise in my head than live in this hell! 00:14:23.000 --> 00:14:25.000 In this life, we're dead anyway. NOTE Paragraph 00:14:26.000 --> 00:14:31.000 One only chooses bitterness when the alternative is even bitterer. NOTE Paragraph 00:14:33.000 --> 00:14:36.000 Woman: And what about us? The ones who remain? 00:14:36.000 --> 00:14:38.000 Will we win that way? 00:14:39.000 --> 00:14:44.000 Don't you see what you're doing is destroying us? 00:14:45.000 --> 00:14:48.000 And that you give Israel an alibi to carry on? NOTE Paragraph 00:14:48.000 --> 00:14:51.000 Man: So with no alibi, Israel will stop? NOTE Paragraph 00:14:51.000 --> 00:14:55.000 Woman: Perhaps. We have to turn it into a moral war. NOTE Paragraph 00:14:55.000 --> 00:14:57.000 Man: How, if Israel has no morals? NOTE Paragraph 00:14:58.000 --> 00:15:00.000 Woman: Be careful! NOTE Paragraph 00:15:16.000 --> 00:15:19.000 Tzvika: My wife Ayelet called me and said, 00:15:19.000 --> 00:15:22.000 "There was a suicide bombing in Tel Aviv." NOTE Paragraph 00:15:22.000 --> 00:15:25.000 Ayelet: What do you know about the casualties? 00:15:25.000 --> 00:15:28.000 We're looking for three girls. NOTE Paragraph 00:15:28.000 --> 00:15:30.000 Tzvika: We have no information. NOTE Paragraph 00:15:30.000 --> 00:15:34.000 Ayelet: One is wounded here, but we haven't heard from the other three. NOTE Paragraph 00:15:34.000 --> 00:15:39.000 Tzvika: I said, "OK, that's Bat-Chen, that's my daughter. 00:15:39.000 --> 00:15:40.000 Are you sure she is dead?" 00:15:40.000 --> 00:15:42.000 They said yes. NOTE Paragraph 00:15:50.000 --> 00:15:53.000 George: On that day, at around 6:30 00:15:53.000 --> 00:15:59.000 I was driving with my wife and daughters to the supermarket. 00:16:01.000 --> 00:16:04.000 When we got to here, 00:16:04.000 --> 00:16:10.000 we saw three Israeli military jeeps parked on the side of the road. 00:16:10.000 --> 00:16:14.000 When we passed by the first jeep, 00:16:14.000 --> 00:16:16.000 they opened fire on us. 00:16:17.000 --> 00:16:21.000 And my 12-year-old daughter Christine 00:16:21.000 --> 00:16:23.000 was killed in the shooting. NOTE Paragraph 00:16:34.000 --> 00:16:36.000 I am the headmaster for all parts. NOTE Paragraph 00:16:36.000 --> 00:16:39.000 George: But there is a teacher that is in charge? 00:16:39.000 --> 00:16:42.000 Tzvika: Yes, I have assistants. 00:16:42.000 --> 00:16:45.000 I deal with children all the time. NOTE Paragraph 00:16:50.000 --> 00:16:54.000 George: At first, I thought it was a strange idea. 00:16:54.000 --> 00:16:58.000 But after thinking logically about it, 00:16:58.000 --> 00:17:05.000 I didn't find any reason why not to meet them 00:17:05.000 --> 00:17:09.000 and let them know of our suffering. NOTE Paragraph 00:17:10.000 --> 00:17:14.000 George: There were many things that touched me. 00:17:14.000 --> 00:17:19.000 We see that there are Palestinians who suffered a lot, who lost children, 00:17:19.000 --> 00:17:22.000 and still believe in the peace process and in reconciliation. 00:17:22.000 --> 00:17:25.000 If we who lost what is most precious can talk to each other, 00:17:25.000 --> 00:17:28.000 and look forward to a better future, 00:17:28.000 --> 00:17:32.000 then everyone else must do so, too. NOTE Paragraph 00:17:44.000 --> 00:17:48.000 Man: Song is something that we communicated with people 00:17:48.000 --> 00:17:52.000 who otherwise would not have understood where we're coming from. 00:17:52.000 --> 00:17:55.000 You could give them a long political speech 00:17:55.000 --> 00:17:58.000 they would still not understand. 00:17:58.000 --> 00:18:01.000 But I tell you, when you finish that song, 00:18:01.000 --> 00:18:03.000 people will be like, "Damn, I know where you niggaz are coming from. 00:18:03.000 --> 00:18:05.000 I know where you guys are coming from. 00:18:05.000 --> 00:18:07.000 Death unto apartheid!" NOTE Paragraph 00:18:09.000 --> 00:18:12.000 Narrator: It's about the liberation struggle. 00:18:12.000 --> 00:18:14.000 It's about those children who took to the streets, 00:18:14.000 --> 00:18:18.000 fighting, screaming, "Free Nelson Mandela!" 00:18:20.000 --> 00:18:24.000 It's about those unions who put down their tools 00:18:24.000 --> 00:18:27.000 and demanded freedom. 00:18:28.000 --> 00:18:32.000 Yes. Yes! 00:18:34.000 --> 00:18:36.000 Freedom! NOTE Paragraph 00:18:41.000 --> 00:18:44.000 Jehane Noujaim: I think everybody's had that feeling of sitting in a theater, 00:18:44.000 --> 00:18:49.000 in a dark room, with other strangers, watching a very powerful film, 00:18:49.000 --> 00:18:52.000 and they felt that feeling of transformation. 00:18:52.000 --> 00:18:54.000 And 00:18:54.000 --> 00:18:58.000 what I'd like to talk about is how can we use that feeling 00:18:58.000 --> 00:19:01.000 to actually create a movement through film? 00:19:03.000 --> 00:19:05.000 I've been listening to the talks 00:19:05.000 --> 00:19:09.000 in some of the conference, and Robert Wright said yesterday 00:19:09.000 --> 00:19:13.000 that if we have an appreciation for another person's humanity, 00:19:13.000 --> 00:19:15.000 then they will have an appreciation for ours. 00:19:15.000 --> 00:19:17.000 And that's what this is about. 00:19:17.000 --> 00:19:20.000 It's about connecting people through film, 00:19:20.000 --> 00:19:23.000 getting these independent voices out there. 00:19:23.000 --> 00:19:28.000 Now Josh Rushing actually ended up leaving the military 00:19:28.000 --> 00:19:30.000 and taking a job with Al Jazeera, 00:19:30.000 --> 00:19:35.000 so his feeling is that he's on Al Jazeera International because 00:19:35.000 --> 00:19:37.000 he feels like he can actually use media 00:19:38.000 --> 00:19:41.000 to bridge the gap between East and West. 00:19:41.000 --> 00:19:43.000 And that's an amazing thing. 00:19:43.000 --> 00:19:46.000 But I've been trying to think about ways 00:19:46.000 --> 00:19:49.000 to give power to these independent voices, 00:19:49.000 --> 00:19:51.000 to give power to the filmmakers, 00:19:51.000 --> 00:19:55.000 to give power to people who are trying to use film for change. 00:19:55.000 --> 00:19:57.000 And there are incredible organizations 00:19:57.000 --> 00:19:59.000 that are out there doing this already. 00:19:59.000 --> 00:20:02.000 There's Witness, that you heard from earlier. 00:20:02.000 --> 00:20:05.000 There's Just Vision, that are working with Palestinians and Israelis 00:20:05.000 --> 00:20:09.000 who are working together for peace, and documenting that process 00:20:09.000 --> 00:20:11.000 and getting interviews out there and using this film 00:20:11.000 --> 00:20:14.000 to take to Congress to show that it's a powerful tool 00:20:14.000 --> 00:20:19.000 to show that this is a woman who's had her daughter killed in an attack, 00:20:19.000 --> 00:20:22.000 and she believes that there are peaceful ways to solve this. 00:20:22.000 --> 00:20:26.000 There's Working Films and there's Current TV, 00:20:26.000 --> 00:20:29.000 which is an incredible platform for people around the world 00:20:29.000 --> 00:20:33.000 to be able to put their -- yes, it's amazing. 00:20:33.000 --> 00:20:36.000 I watched it and I'm just -- I'm blown away by it 00:20:36.000 --> 00:20:40.000 and its potential to bring voices from around the world, 00:20:40.000 --> 00:20:42.000 independent voices from around the world, 00:20:42.000 --> 00:20:45.000 and create a truly democratic, global television. NOTE Paragraph 00:20:45.000 --> 00:20:49.000 So what can we do to create a platform for these organizations, 00:20:49.000 --> 00:20:51.000 to create some momentum, 00:20:51.000 --> 00:20:55.000 to get everybody in the world involved in this movement? 00:20:56.000 --> 00:21:03.000 I'd like for us to imagine for a second -- imagine a day 00:21:04.000 --> 00:21:08.000 when you have everyone coming together from around the world. 00:21:08.000 --> 00:21:18.000 You have towns and villages and theaters all from around the world 00:21:18.000 --> 00:21:21.000 getting together, and sitting in the dark, 00:21:21.000 --> 00:21:25.000 and sharing a communal experience of watching a film, 00:21:25.000 --> 00:21:28.000 or a couple of films, together. 00:21:29.000 --> 00:21:31.000 Watching a film which maybe highlights 00:21:31.000 --> 00:21:35.000 a character that is fighting to live, or just 00:21:35.000 --> 00:21:37.000 a character that defies stereotypes, 00:21:37.000 --> 00:21:40.000 makes a joke, sings a song. 00:21:40.000 --> 00:21:42.000 Comedies, documentaries, shorts. 00:21:42.000 --> 00:21:45.000 This amazing power can be used to change people 00:21:45.000 --> 00:21:47.000 and to bond people together, to cross borders 00:21:47.000 --> 00:21:51.000 and have people feel like they're having a communal experience. 00:21:51.000 --> 00:21:54.000 So if you imagine this day when all around the world 00:21:54.000 --> 00:21:59.000 you have theaters from around the world and places where we project films. 00:21:59.000 --> 00:22:01.000 If you imagine from -- 00:22:01.000 --> 00:22:06.000 projecting from Times Square to Tahir Square in Cairo, 00:22:06.000 --> 00:22:10.000 the same film in Ramallah, the same film in Jerusalem. 00:22:10.000 --> 00:22:13.000 You know, we've been talking to a friend of mine 00:22:13.000 --> 00:22:15.000 about using the side of the Great Pyramid 00:22:15.000 --> 00:22:17.000 and the Great Wall of China. 00:22:18.000 --> 00:22:23.000 It's endless what you can imagine, 00:22:23.000 --> 00:22:25.000 in terms of where you can project films 00:22:25.000 --> 00:22:28.000 and where you can have this communal experience. 00:22:28.000 --> 00:22:31.000 And I believe that this one day, if we can create it, 00:22:31.000 --> 00:22:35.000 this one day can create momentum for all of these independent voices. 00:22:35.000 --> 00:22:37.000 There 00:22:37.000 --> 00:22:39.000 isn't an organization which is connecting 00:22:39.000 --> 00:22:42.000 the independent voices of the world to get out there, 00:22:42.000 --> 00:22:44.000 and yet I'm hearing throughout this conference 00:22:44.000 --> 00:22:48.000 that the biggest danger in our future is [lack of] understanding the other 00:22:48.000 --> 00:22:52.000 and having mutual respect for the other and crossing borders. 00:22:52.000 --> 00:22:54.000 And if film can do that, 00:22:54.000 --> 00:22:57.000 and if we can get all of these different locations in the world 00:22:57.000 --> 00:23:02.000 to watch these films together, this could be an incredible day. NOTE Paragraph 00:23:02.000 --> 00:23:07.000 So we've already made a partnership actually, set up through 00:23:07.000 --> 00:23:09.000 somebody from the TED community, 00:23:09.000 --> 00:23:11.000 John Camen, introduced me to 00:23:11.000 --> 00:23:15.000 Steven Apkon, from the Jacob Burns Film Center. 00:23:15.000 --> 00:23:17.000 And we started calling up everybody. 00:23:17.000 --> 00:23:22.000 And in the last week, there have been so many people that have responded to us 00:23:22.000 --> 00:23:27.000 from as close as Palo Alto to Mongolia and to India. 00:23:27.000 --> 00:23:31.000 There are people that want to be a part of this global day of film, 00:23:31.000 --> 00:23:35.000 to be able to provide a platform for independent voices 00:23:35.000 --> 00:23:37.000 and independent films to get out there. 00:23:39.000 --> 00:23:42.000 Now, we've thought about a name for this day 00:23:43.000 --> 00:23:45.000 and I'd like to share this with you. 00:23:45.000 --> 00:23:47.000 Now, the most amazing part of this whole process 00:23:47.000 --> 00:23:50.000 has been sharing ideas and wishes, 00:23:50.000 --> 00:23:54.000 and so I invite you to give brainstorms onto 00:23:54.000 --> 00:23:57.000 how does this day echo into the future? 00:23:57.000 --> 00:24:02.000 How do we use technology to make this day echo into the future, 00:24:02.000 --> 00:24:04.000 so that we can build community 00:24:04.000 --> 00:24:08.000 and have these communities working together, through the Internet? 00:24:09.000 --> 00:24:11.000 There was a time, many, many years ago, 00:24:11.000 --> 00:24:14.000 when all of the continents were stuck together. 00:24:15.000 --> 00:24:18.000 And we called that landmass Pangea. 00:24:18.000 --> 00:24:23.000 So what we'd like to call this day of film is Pangea Cinema Day. 00:24:23.000 --> 00:24:25.000 And if you just imagine 00:24:25.000 --> 00:24:28.000 that all of these people in these towns would be watching, 00:24:28.000 --> 00:24:32.000 then I think that we can actually really make a movement 00:24:32.000 --> 00:24:35.000 towards people understanding each other better. NOTE Paragraph 00:24:35.000 --> 00:24:38.000 I know that it's very intangible, touching people's hearts and souls, 00:24:39.000 --> 00:24:41.000 but the only way that I know how to do it, 00:24:41.000 --> 00:24:43.000 the only way that I know how to reach out 00:24:43.000 --> 00:24:48.000 to somebody's heart and soul all across the world is by showing them a film. 00:24:48.000 --> 00:24:51.000 And I know that there are independent filmmakers and films out there 00:24:51.000 --> 00:24:53.000 that can really make this happen. 00:24:53.000 --> 00:24:55.000 And that's my wish. 00:24:55.000 --> 00:25:00.000 So I guess I'm supposed to give you my one-sentence wish, 00:25:00.000 --> 00:25:03.000 but we're way out of time. NOTE Paragraph 00:25:03.000 --> 00:25:05.000 Chris Anderson: That is an incredible wish. 00:25:05.000 --> 00:25:08.000 Pangea Cinema -- the day the world comes together. NOTE Paragraph 00:25:08.000 --> 00:25:11.000 JN: It's more tangible than world peace, and it's certainly more immediate. 00:25:11.000 --> 00:25:17.000 But it would be the day that the world comes together through film, 00:25:17.000 --> 00:25:19.000 the power of film. NOTE Paragraph 00:25:19.000 --> 00:25:21.000 CA: Ladies and gentlemen, Jehane Noujaim.