TED英語(yǔ)演講：一個(gè)娛樂(lè)界偶像充滿(mǎn)意義的一生
有在1970年代(和之后的幾十年里)，Norman 用情景喜劇觸動(dòng)了數(shù)百萬(wàn)人的生活，比如《全家?！?，《杰弗遜一家》等。在和Eric親切的談話(huà)中，他謙遜幽默地分享了他早年和「人性愚蠢面」的關(guān)系是如何造就了他的人生和創(chuàng)意的愿景。下面是小編為大家收集關(guān)于TED英語(yǔ)演講：一個(gè)娛樂(lè)界偶像充滿(mǎn)意義的一生，歡迎借鑒參考。
演說(shuō)題目：一個(gè)娛樂(lè)界偶像充滿(mǎn)意義的一生!
演說(shuō)者：Norman Lear
演講稿
Eric Hirshberg: So I assume that Norman doesn't need much of an introduction, but TED's audience is global, it's diverse, so I've been tasked with starting with his bio, which could easily take up the entire 18 minutes. So instead we're going to do 93 years in 93 seconds or less.
You were born in New Hampshire.
Norman Lear: New Haven, Connecticut.
EH: New Haven, Connecticut.
NL: There goes seven more seconds.
EH: Nailed it.
You were born in New Haven, Connecticut. Your father was a con man -- I got that right. He was taken away to prison when you were nine years old. You flew 52 missions as a fighter pilot in World War II. You came back to --
NL: Radio operator.
EH: You came to LA to break into Hollywood, first in publicity, then in TV. You had no training as a writer, formally, but you hustled your way in. Your breakthrough, your debut, was a little show called "All in the Family." You followed that up with a string of hits that to this day is unmatched in Hollywood: "Sanford and Son," "Maude," "Good Times," "The Jeffersons," "One Day at a Time," "Mary Hartman, Mary Hartman," to name literally a fraction of them. Not only are they all commercially --
Not only are they all commercially successful, but many of them push our culture forward by giving the underrepresented members of society their first prime-time voice. You have seven shows in the top 10 at one time. At one point, you aggregate an audience of 120 million people per week watching your content. That's more than the audience for Super Bowl 50, which happens once a year.
NL: Holy shit.
EH: And we're not even to the holy shit part.
You land yourself on Richard Nixon's enemies list -- he had one.
That's an applause line, too.
You're inducted into the TV Hall of Fame on the first day that it exists. Then came the movies. "Fried Green Tomatoes," "The Princess Bride," "Stand By Me," "This Is Spinal Tap."
Again, just to name a fraction.
Then you wipe the slate clean, start a third act as a political activist focusing on protecting the First Amendment and the separation of church and state. You start People For The American Way. You buy the Declaration of Independence and give it back to the people. You stay active in both entertainment and politics until the ripe old of age of 93, when you write a book and make a documentary about your life story. And after all that, they finally think you're ready for a TED Talk.
NL: I love being here. And I love you for agreeing to do this.
EH: Thank you for asking. It's my honor. So here's my first question. Was your mother proud of you?
NL: My mother ... what a place to start. Let me put it this way -- when I came back from the war, she showed me the letters that I had written her from overseas, and they were absolute love letters.
This really sums up my mother. They were love letters, as if I had written them to -- they were love letters. A year later I asked my mother if I could have them, because I'd like to keep them all the years of my life ... She had thrown them away.
That's my mother.
The best way I can sum it up in more recent times is -- this is also more recent times -- a number of years ago, when they started the Hall of Fame to which you referred. It was a Sunday morning, when I got a call from the fellow who ran the TV Academy of Arts & Sciences. He was calling me to tell me they had met all day yesterday and he was confidentially telling me they were going to start a hall of fame and these were the inductees. I started to say "Richard Nixon," because Richard Nixon --
EH: I don't think he was on their list.
NL: William Paley, who started CBS, David Sarnoff, who started NBC, Edward R. Murrow, the greatest of the foreign correspondents, Paddy Chayefsky -- I think the best writer that ever came out of television -- Milton Berle, Lucille Ball and me.
EH: Not bad.
NL: I call my mother immediately in Hartford, Connecticut. "Mom, this is what's happened, they're starting a hall of fame."
I tell her the list of names and me, and she says, "Listen, if that's what they want to do, who am I to say?"
That's my Ma. I think it earns that kind of a laugh because everybody has a piece of that mother.
EH: And the sitcom Jewish mother is born, right there.
So your father also played a large role in your life, mostly by his absence.
NL: Yeah.
EH: Tell us what happened when you were nine years old.
NL: He was flying to Oklahoma with three guys that my mother said, "I don't want you to have anything to do with them, I don't trust those men." That's when I heard, maybe not for the first time, "Stifle yourself, Jeanette, I'm going." And he went. It turns out he was picking up some fake bonds, which he was flying across the country to sell. But the fact that he was going to Oklahoma in a plane, and he was going to bring me back a 10-gallon hat, just like Ken Maynard, my favorite cowboy wore. You know, this was a few years after Lindbergh crossed the Atlantic. I mean, it was exotic that my father was going there. But when he came back, they arrested him as he got off the plane.
That night newspapers were all over the house, my father was with his hat in front of his face, manacled to a detective. And my mother was selling the furniture, because we were leaving -- she didn't want to stay in that state of shame, in Chelsea, Massachusetts. And selling the furniture -- the house was loaded with people.
And in the middle of all of that, some strange horse's ass put his hand on my shoulder and said, "Well, you're the man of the house now." I'm crying, and this asshole says, "You're the man of the house now." And I think that was the moment I began to understand the foolishness of the human condition. So ... it took a lot of years to look back at it and feel it was a benefit. But --
EH: It's interesting you call it a benefit.
NL: Benefit in that it gave me that springboard. I mean that I could think how foolish it was to say to this crying nine-year-old boy, "You're the man of the house now." And then I was crying, and then he said, "And men of the house don't cry." And I ...
So ... I look back, and I think that's when I learned the foolishness of the human condition, and it's been that gift that I've used.
EH: So you have a father who's absent, you have a mother for whom apparently nothing is good enough. Do you think that starting out as a kid who maybe never felt heard started you down a journey that ended with you being an adult with a weekly audience of 120 million people?
NL: I love the way you put that question, because I guess I've spent my life wanting -- if anything, wanting to be heard. I think -- It's a simple answer, yes, that was what sparked -- well, there were other things, too. When my father was away, I was fooling with a crystal radio set that we had made together, and I caught a signal that turned out to be Father Coughlin.
Yeah, somebody laughed.
But not funny, this was a horse's -- another horse's ass -- who was very vocal about hating the New Deal and Roosevelt and Jews. The first time I ran into an understanding that there were people in this world that hated me because I was born to Jewish parents. And that had an enormous effect on my life.
EH: So you had a childhood with little in the way of strong male role models, except for your grandfather. Tell us about him.
NL: Oh, my grandfather. Well here's the way I always talked about that grandfather. There were parades, lots of parades when I was a kid. There were parades on Veteran's Day -- there wasn't a President's Day. There was Abraham Lincoln's birthday, George Washington's birthday and Flag Day ... And lots of little parades. My grandfather used to take me and we'd stand on the street corner, he'd hold my hand, and I'd look up and I'd see a tear running down his eye. And he meant a great deal to me.
And he used to write presidents of the United States. Every letter started, "My dearest, darling Mr. President," and he'd tell him something wonderful about what he did. But when he disagreed with the President, he also wrote, "My dearest, darling Mr. President, Didn't I tell you last week ...?"
And I would run down the stairs every now and then and pick up the mail. We were three flights up, 74 York Street, New Haven, Connecticut. And I'd pick up a little white envelope reading, "Shya C. called at this address." And that's the story I have told about my grandfather --
EH: They wrote him back on the envelopes --
NL: They wrote back. But I have shown them myself, going way back to Phil Donahue and others before him, literally dozens of interviews in which I told that story. This will be the second time I have said the whole story was a lie. The truth was my grandfather took me to parades, we had lots of those. The truth is a tear came down his eye.
The truth is he would write an occasional letter, and I did pick up those little envelopes. But "My dearest darling Mr. President," all the rest of it, is a story I borrowed from a good friend whose grandfather was that grandfather who wrote those letters. And, I mean, I stole Arthur Marshall's grandfather and made him my own. Always.
When I started to write my memoir -- "Even this --" How about that? "Even This I Get to Experience." When I started to write the memoir and I started to think about it, and then I -- I -- I did a reasonable amount of crying, and I realized how much I needed the father. So much so that I appropriated Arthur Marshall's grandfather. So much so, the word "father" -- I have six kids by the way. My favorite role in life. It and husband to my wife Lyn. But I stole the man's identity because I needed the father.
Now I've gone through a whole lot of shit and come out on the other side, and I forgive my father -- the best thing I -- the worst thing I -- The word I'd like to use about him and think about him is -- he was a rascal. The fact that he lied and stole and cheated and went to prison ... I submerge that in the word "rascal."
EH: Well there's a saying that amateurs borrow and professionals steal.
NL: I'm a pro.
EH: You're a pro.
And that quote is widely attributed to John Lennon, but it turns out he stole it from T.S. Eliot. So you're in good company.
EH: I want to talk about your work. Obviously the impact of your work has been written about and I'm sure you've heard about it all your life: what it meant to people, what it meant to our culture, you heard the applause when I just named the names of the shows, you raised half the people in the room through your work. But have there ever been any stories about the impact of your work that surprised you?
NL: Oh, god -- surprised me and delighted me from head to toe. There was "An Evening with Norman Lear" within the last year that a group of hip-hop impresarios, performers and the Academy put together. The subtext of "An Evening with ..." was: What do a 92-year-old Jew -- then 92 -- and the world of hip-hop have in common? Russell Simmons was among seven on the stage. And when he talked about the shows, he wasn't talking about the Hollywood, George Jefferson in "The Jeffersons," or the show that was a number five show. He was talking about a simple thing that made a big --
EH: Impact on him?
NL: An impact on him -- I was hesitating over the word, "change." It's hard for me to imagine, you know, changing somebody's life, but that's the way he put it. He saw George Jefferson write a check on "The Jeffersons," and he never knew that a black man could write a check. And he says it just impacted his life so -- it changed his life.
And when I hear things like that -- little things -- because I know that there isn't anybody in this audience that wasn't likely responsible today for some little thing they did for somebody, whether it's as little as a smile or an unexpected "Hello," that's how little this thing was. It could have been the dresser of the set who put the checkbook on the thing, and George had nothing to do while he was speaking, so he wrote it, I don't know. But --
EH: So in addition to the long list I shared in the beginning, I should have also mentioned that you invented hip-hop.
NL: Well ...
EH: I want to talk about --
NL: Well, then do it.
EH: You've lead a life of accomplishment, but you've also built a life of meaning. And all of us strive to do both of those things -- not all of us manage to. But even those of us who do manage to accomplish both of those, very rarely do we figure out how to do them together. You managed to push culture forward through your art while also achieving world-beating commercial success. How did you do both?
NL: Here's where my mind goes when I hear that recitation of all I accomplished. This planet is one of a billion, they tell us, in a universe of which there are billions -- billions of universes, billions of planets ... which we're trying to save and it requires saving. But ... anything I may have accomplished is -- my sister once asked me what she does about something that was going on in Newington, Connecticut. And I said, "Write your alderman or your mayor or something." She said, "Well I'm not Norman Lear, I'm Claire Lear." And that was the first time I said what I'm saying, I said, "Claire. With everything you think about what I may have done and everything you've done," -- she never left Newington -- "can you get your fingers close enough when you consider the size of the planet and so forth, to measure anything I may have done to anything you may have done?"
So ... I am convinced we're all responsible for doing as much as I may have accomplished. And I understand what you're saying --
EH: It's an articulate deflection --
NL: But you have to really buy into the size and scope of the creator's enterprise, here.
EH: But here on this planet you have really mattered.
NL: I'm a son of a gun.
EH: So I have one more question for you. How old do you feel?
NL: I am the peer of whoever I'm talking to.
EH: Well, I feel 93.
NL: We out of here?
EH: Well, I feel 93 years old, but I hope to one day feel as young as the person I'm sitting across from.
Ladies and gentlemen, the incomparable Norman Lear.
艾瑞克·利德?tīng)枺?我想大家都很熟悉諾曼了，不需要太多的介紹， 但是TED的觀眾來(lái)自全球， 是個(gè)多元的群體， 所以我被要求從介紹他的生平開(kāi)始， 這輕易就能用完整個(gè)18分鐘。 所以我們決定用93秒或更少的時(shí)間 來(lái)介紹諾曼的這93年。
你生于新罕布什爾州。
諾曼·李爾：是紐黑文，康涅狄格州。
艾瑞克：是紐黑文，康涅狄格州。
諾曼：這就過(guò)去7秒了。
艾瑞克：你做到了。
你生于紐黑文，康涅狄格州。 你的父親是個(gè)行騙者——這次我對(duì)了。 在你九歲的時(shí)候他被帶走去了監(jiān)獄。 在二戰(zhàn)中你是一位飛行員 執(zhí)行了52次任務(wù)。 你回到——
諾曼：是報(bào)務(wù)員。
艾瑞克：你來(lái)到洛杉磯闖入了好萊塢， 首先當(dāng)宣傳，接著是在電視領(lǐng)域。 你是一位沒(méi)有接受過(guò) 正式訓(xùn)練的作家， 但你闖出了你的路。 你的突破，你的首秀， 是一部電視劇《全家福》。 緊接著你拍了一系列 至今都在好萊塢無(wú)與倫比的電視劇： 《桑福德和兒子》，《Maude》，《好時(shí)光》， 《杰佛遜一家》，《隨遇而安》， 《瑪麗·哈特曼》， 這里只提到了一部分。 這些電視劇不僅在商業(yè)上——
它們不僅都獲得了商業(yè)上的成功， 其中很多電視劇也 推動(dòng)了文化的發(fā)展， 讓社會(huì)中代表性不足的群體 首次在黃金時(shí)段發(fā)聲。 你曾有七部電視劇同時(shí)在收視率前十。 你一度吸引了 一億兩千萬(wàn)的的觀眾 每周觀看你的電視劇。 這甚至超過(guò)了每年一度的超級(jí)杯 在2015年的觀眾數(shù)。
諾曼：哇靠。
艾瑞克：我們甚至還沒(méi)有說(shuō)到 令人驚嘆的哇靠部分。
你使自己成為理查德·尼克松 名單上的敵人—— 他有這么一份。
這也值得大家的掌聲。
你在名單曝光第一天 就被列入了電視名人堂。 接下來(lái)說(shuō)說(shuō)電影。 《油炸綠蕃茄》， 《公主新娘》，《伴我同行》， 《搖滾萬(wàn)歲》。
這里還是只提了一部分。
然后你開(kāi)創(chuàng)了"三幕劇架構(gòu)" 橫掃了電影界， 從政時(shí)致力于保護(hù)第一修正案， 堅(jiān)持政教分離。 你建立了美國(guó)之道團(tuán)體。 你買(mǎi)下了獨(dú)立宣言， 然后把它歸還給人民。 你到93歲高齡 都還一直活躍在娛樂(lè)界和政界， 然后你開(kāi)始寫(xiě)書(shū)， 并且制作了一部關(guān)于你人生的紀(jì)錄片。 經(jīng)過(guò)了所有這些， 他們終于覺(jué)得你準(zhǔn)備好 做一個(gè)TED演講了。
諾曼：很高興來(lái)到這里。 也很高興你同意做這個(gè)訪(fǎng)談。
艾瑞克：謝謝你的邀請(qǐng)。我的榮幸。 然后這是我的第一個(gè)問(wèn)題。 你的媽媽為你感到驕傲嗎?
諾曼：我的媽媽…… 從這里開(kāi)始啊。 讓我這樣說(shuō)吧—— 當(dāng)我從戰(zhàn)場(chǎng)上回來(lái)， 她給我看了我從海外寄給她的信， 這些絕對(duì)都是情書(shū)。
這確實(shí)概括形容了我媽媽。 那些情書(shū)， 仿佛我把它們寫(xiě)成那樣一般—— 它們就是情書(shū)。 一年后我問(wèn)媽媽?zhuān)?我是否能擁有它們， 因?yàn)槲蚁氡４嫠鼈円簧?hellip;… 她已經(jīng)扔掉了。
這就是我媽媽。
近期，我能總結(jié)的最好方式—— 這也是最近的事—— 幾年前， 當(dāng)他們開(kāi)始籌備 你剛剛提到的名人堂的時(shí)候。 那是一個(gè)周日的早晨， 我接到了一個(gè)管理電視藝術(shù) 及科學(xué)學(xué)院朋友的電話(huà)。 他打電話(huà)告訴我說(shuō)， 他們昨天談了一整天， 他跟我說(shuō)，告訴你一個(gè)秘密， 我們將要成立一個(gè)名人堂， 然后他告訴我入選者都有誰(shuí)。 我開(kāi)頭就說(shuō)“理查德·尼克松”， 因?yàn)槔聿榈?middot;尼克松——
艾瑞克：我不認(rèn)為他在名單上。
諾曼：CBS之父威廉·佩利， 創(chuàng)立NBC的大衛(wèi)·沙諾夫， 愛(ài)德華·默羅， 最偉大的駐外記者， 帕迪·查耶夫斯基—— 我認(rèn)為是電視界最好的編劇—— 米爾頓·伯利，露西·鮑爾， 還有我。
艾瑞克：不錯(cuò)。
諾曼：我立刻打電話(huà)給 在哈特福德，康涅狄格州的媽媽。 “媽媽?zhuān)阒绬幔?他們要成立一個(gè)名人堂。“
我告訴她那些入選者的名字，還有我， 然后她說(shuō)， ”聽(tīng)著，如果他們要這么做， 我還能說(shuō)什么?“
這就是我媽媽。 我覺(jué)得能這么好笑的原因是， 因?yàn)槊總€(gè)人的媽媽都有這樣的一面。
艾瑞克：情景喜劇中的 猶太人媽媽就這樣誕生了。
你的父親在你的人生中 也扮演了重要的角色， 大部分是因?yàn)樗娜毕?/p>
諾曼：是。
艾瑞克：告訴我們你九歲的時(shí)候發(fā)生了什么。
諾曼：他當(dāng)時(shí)要與三個(gè)人 一同飛去俄克拉何馬州， 我媽媽說(shuō)， ”我不想你和那三個(gè)人有任何關(guān)系， 我不相信他們。” 那時(shí)候我聽(tīng)到他說(shuō)， “別說(shuō)了，珍妮特。我要去。” 這大概不是我第一次聽(tīng)到了。 然后他去了。 結(jié)果他拿到了一些假債券， 飛到全國(guó)各地做銷(xiāo)售。 但是他坐飛機(jī)去俄克拉何馬州， 他要給我?guī)Щ匾粋€(gè)“十加侖“大檐帽， 就像我最喜歡的牛仔 肯· 梅德納戴的那樣—— 你知道這是在很多年前 林德伯格穿越大西洋之后。 我的意思是我爸爸 那時(shí)候去那兒很奇怪。 但是當(dāng)他回來(lái)的時(shí)候， 他一下飛機(jī)就被逮捕了。
那一晚，屋里到處都是報(bào)紙， 我爸爸戴的帽子遮著他的臉， 他被刑警銬上手銬。 我媽媽開(kāi)始賣(mài)家具， 因?yàn)槲覀円x開(kāi)—— 她不想待在切爾西，馬薩諸塞州 生活在恥辱中。 她在賣(mài)家具的時(shí)候—— 屋里全都是人。
在這些人當(dāng)中， 有一個(gè)奇怪的蠢貨 把手放到我的肩膀上，說(shuō)： ”嗯，現(xiàn)在你是家中的男人了。“ 我正在哭，而這個(gè)混蛋說(shuō)， ”現(xiàn)在你是這個(gè)家里的男人了。“ 我想我就是從那時(shí)起 開(kāi)始理解到人性的愚蠢。 然后…… 我花了很多年重新審視它 并感覺(jué)到它的益處。 但是——
艾瑞克：你把它看作是有益的這很有趣。
諾曼：益處在于它給了我一個(gè)出發(fā)點(diǎn)。 我的意思是我可以認(rèn)為 對(duì)一個(gè)在哭泣的九歲男孩說(shuō) ”現(xiàn)在你是這個(gè)家里的男人了。“ 這樣的行為很愚蠢。 然后我還在哭，然后他說(shuō)： ”一家之主是不能流淚的。“ 然后我……
所以…… 我回顧，然后我想 那個(gè)時(shí)候，我了解到了人性的愚蠢， 之后我一直受益于這個(gè)禮物。
艾瑞克：所以你有一個(gè)缺席的父親， 你有一個(gè)認(rèn)為什么都不夠好的母親。 你覺(jué)不覺(jué)得，從一個(gè)感到 從未被傾聽(tīng)的孩子開(kāi)始， 一路走來(lái)， 這段旅程使你最后成為一個(gè) 一周擁有一億兩千萬(wàn)收視觀眾的人?
諾曼：我喜歡你問(wèn)這個(gè)問(wèn)題的方式， 因?yàn)槲也?，我已?jīng)花了一生的時(shí)間想—— 是否有什么是需要被傾聽(tīng)的。 我想—— 這是個(gè)簡(jiǎn)單的答案，是， 就是這個(gè)激勵(lì)了我—— 嗯，也有別的。 我爸爸不在的時(shí)候， 我擺弄著一個(gè)我們之前 一起做的礦石收音機(jī)， 我捕捉到一個(gè)信號(hào)結(jié)果是神父柯林。
嗯，一些人笑了。
但是這并不好笑， 這是一個(gè)蠢—— 另一個(gè)蠢貨—— 他激烈地表達(dá)對(duì)新政， 對(duì)羅斯福，和對(duì)猶太人的厭惡。 那是我第一次意識(shí)到 這個(gè)世界上有人討厭我 就因?yàn)槲腋改甘仟q太人。 這對(duì)我的人生產(chǎn)生了巨大的影響。
艾瑞克：你的童年 缺少?gòu)?qiáng)大的男性榜樣， 除了你的爺爺。 跟我們說(shuō)說(shuō)他。
諾曼：哦，我的爺爺。 嗯，我總是這樣談?wù)撐业臓敔敗?我還是個(gè)孩子的時(shí)候 有游行，很多游行。 老兵節(jié)有游行—— 不過(guò)總統(tǒng)日沒(méi)有。 亞伯拉罕·林肯的生日有， 喬治·華盛頓的生日有， 還有國(guó)旗日…… 也有很多小游行。 我爺爺以前會(huì)帶我去， 我們會(huì)站在街角， 他拉著我的手， 我抬頭會(huì)看到他流眼淚。 他對(duì)我來(lái)說(shuō)意味著很多。
他以前會(huì)給美國(guó)總統(tǒng)寫(xiě)信。 每封信都這樣開(kāi)始， ”我最最親愛(ài)的總統(tǒng)先生，“ 然后告訴他一些他做的了不起的事。 但是當(dāng)他不同意 總統(tǒng)的決定時(shí)，他也寫(xiě)信。 ”我最最親愛(ài)的總統(tǒng)先生， 上星期我是不是跟你說(shuō)過(guò)……?”
我經(jīng)常往樓下跑， 去拿信件。 我們當(dāng)時(shí)住在 康涅狄格州紐黑文約克街的74號(hào)， 要上三段樓梯。 我會(huì)拿到一個(gè)小信封，上面寫(xiě)著 “住在這里的Shya C.”。 這就是我講述過(guò)的 關(guān)于我爺爺?shù)墓适隆?/p>
艾瑞克：他們?cè)谛欧馍匣匦?mdash;—
諾曼：他們回信了。 但我已經(jīng)向他們坦白， 從多年前的菲爾多納休 還有在他之前的其他人， 幾乎每次的訪(fǎng)談中， 我都有提到那個(gè)故事， 這將是我第二次說(shuō) 這個(gè)故事是個(gè)謊言。 真相是我爺爺帶我去游行， 我們?nèi)ミ^(guò)很多次。 真相是他流淚了。
真相是他偶爾會(huì)寫(xiě)一封信， 而我的確拿到了那些小信封。 但是“我最最親愛(ài)的總統(tǒng)先生”， 和剩下的所有 都是一個(gè)我從好朋友那兒借鑒的故事， 他的爺爺才是那個(gè)寫(xiě)了那些信的爺爺。 我是說(shuō)，我偷了 阿瑟·馬歇爾的爺爺， 把他變成了我自己的。 一直都是這樣。
當(dāng)我開(kāi)始寫(xiě)我的回憶錄時(shí)—— 《甚至這些——》 你怎么看這件事? <<甚至這些我都曾經(jīng)歷過(guò)>> 當(dāng)我開(kāi)始寫(xiě)回憶錄時(shí)， 我開(kāi)始思考， 然后我—— 我—— 我真情流露地哭了， 然后我意識(shí)到我是多么地需要“父親”。 這么需要以至于我借用了 阿瑟·馬歇爾的爺爺。 這么需要“爸爸”—— 順便一提，我有六個(gè)孩子， “爸爸”是我生活中 最喜歡的角色， 還有身為我妻子，林， 的丈夫這個(gè)角色。 但是我偷用了那個(gè)人的身份 因?yàn)槲倚枰粋€(gè)“爸爸“。
我經(jīng)歷了那么多悲慘的事， 結(jié)果我站到了另一邊， 我原諒了我的爸爸—— 最好的事情—— 最壞的事情—— 我想起他，形容他 想要用的詞是—— 他是一個(gè)混蛋。 他說(shuō)謊，偷竊，欺騙， 然后進(jìn)了監(jiān)獄…… 我讓這些都沉浸在 “混蛋”這個(gè)詞中。
艾瑞克：人們常說(shuō)，"外行借，內(nèi)行偷"。
諾曼：我是職業(yè)的。
艾瑞克：沒(méi)錯(cuò)，你是職業(yè)的。
人們普遍認(rèn)為這句話(huà)出自約翰·列儂， 但其實(shí)他是從艾略特那偷來(lái)的。 所以你有好同伴了。
艾瑞克：我想談?wù)勀愕某删汀?顯然你的成就所帶來(lái)的影響 已經(jīng)被評(píng)論過(guò)， 我相信你已經(jīng)聽(tīng)過(guò)很多： 它對(duì)人們意味著什么， 它對(duì)我們的文化意味著什么， 當(dāng)我剛才列舉那些電視劇電影的時(shí)候 你聽(tīng)到了掌聲， 你使這里半數(shù)的人起身致敬你的成就。 有沒(méi)有過(guò)什么關(guān)于你成就影響的故事 使你感到驚訝呢?
諾曼：哦，上帝—— 使我整個(gè)人都感到驚訝和欣喜。 去年有一個(gè)<<和諾曼·李爾的夜晚>> 的談話(huà)節(jié)目， 把一群嘻哈經(jīng)理人， 舞者和電視學(xué)會(huì)聚在一起。 “和……的夜晚”的潛臺(tái)詞是： 一個(gè)92歲的猶太人—— 已經(jīng)92歲了—— 和嘻哈界有什么共同點(diǎn)? 拉塞爾·西蒙斯是臺(tái)上的七人之一。 當(dāng)他談到那些電視劇時(shí)， 他不是在談?wù)摵萌R塢 《杰佛遜一家》中的喬治·杰佛遜 或是這個(gè)當(dāng)時(shí)排名第五的電視劇。 他在談?wù)摰氖牵患?jiǎn)單的事情 產(chǎn)生了巨大的——
艾瑞克：對(duì)他產(chǎn)生了巨大的影響?
諾曼：對(duì)他的影響—— 我在猶豫用“改變”這個(gè)詞。 我很難想象， 你知道，改變某人的人生， 但是他是這么說(shuō)的。 他看到喬治·杰佛遜 在《杰佛遜一家》中開(kāi)了一張支票， 而他從不知道一個(gè)黑人可以寫(xiě)支票。 他說(shuō)，這影響了他的人生—— 這改變了他的人生。
而當(dāng)我聽(tīng)到這樣的事情時(shí)—— 這些微不足道的小事—— 因?yàn)槲抑肋@里的觀眾沒(méi)有人 會(huì)在意他們?yōu)閯e人做過(guò)的小事。 不管它小到是一個(gè)微笑 還是一個(gè)意想不到的“你好”， 那件事就是這么小。 有可能是梳妝者 把支票簿放在了那上面， 而喬治在說(shuō)話(huà)的時(shí)候 無(wú)事可做便寫(xiě)了支票， 我不知道， 但是——
艾瑞克：所以除了我在一開(kāi)始 提到的那些成就， 我也應(yīng)該提及說(shuō)是你創(chuàng)造了嘻哈。
諾曼：額……
艾瑞克：我想談?wù)?mdash;—
諾曼：嗯，那就加上吧。
艾瑞克：你走過(guò)了充滿(mǎn)成就的一生， 但同時(shí)你也造就了充滿(mǎn)意義的一生。 我們所有人都在努力達(dá)成這兩件事—— 不是所有人都能成功。 但即使是那些 成功達(dá)成這兩件事的人， 也極少能弄明白 如何同時(shí)達(dá)成它們。 你成功用藝術(shù)推動(dòng)了文化的前行， 同時(shí)也取得了了驚人的商業(yè)成就。 你是如何同時(shí)做到的?
諾曼：這是我在聽(tīng)到 我所有的成就時(shí)想到的。 這里是無(wú)數(shù)行星中的一顆， 他們告訴我們， 在這個(gè)宇宙中有幾十億—— 幾十億個(gè)宇宙， 幾十億顆行星…… 我們?cè)谠噲D保護(hù)， 它也需要我們的保護(hù)。 但是…… 我的任何成就—— 我姐姐曾問(wèn)我，對(duì)于 在紐因頓，康涅狄格州發(fā)生的事情， 她做了些什么。 我說(shuō)：“寫(xiě)信給市議員或者 市長(zhǎng)或者別的什么。” 她說(shuō)：“額，我不是諾曼·李爾， 我是克萊爾·李爾。” 然后那是我第一次說(shuō)到 我現(xiàn)正在談的這些東西， 我說(shuō)：“克萊爾，你認(rèn)為我做過(guò)的所有事 和你做過(guò)的所有事，”—— 她從未離開(kāi)過(guò)紐因頓—— “當(dāng)你考慮到地球宇宙等等這些大小的時(shí)候， 你即使把手指努力并攏，那縫隙也不足以 衡量我做過(guò)的或者是你做過(guò)的事嗎。“
所以…… 我相信我們都能 做到我也許達(dá)成了的。 我理解你說(shuō)的是什么——
艾瑞克：這是一個(gè)很明顯的謊言——
諾曼：但是你必須考慮到造物主造就的 空間和大小，在這里。
艾瑞克：但是在這里在地球上， 你真的很重要。
諾曼：我是個(gè)混蛋。
艾瑞克：我還有一個(gè)問(wèn)題。 你覺(jué)得自己幾歲了?
諾曼：我是任何和我交談?wù)叩耐g人。
艾瑞克：嗯，我覺(jué)得我93歲了。
諾曼：結(jié)束了?
艾瑞克：嗯，我覺(jué)得我93歲了， 但是我希望有一天，我也能感覺(jué) 和坐在我對(duì)面的這個(gè)人一樣年輕。
女士們先生們， 致敬偉大的諾曼·李爾。
諾曼：謝謝。
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