from our studios in new york city, this is "charlie rose." >> i can turn this around, sir. >> rehman told me that this was

your idea? >> i suggested it as an option. >> he said you believed him into it. that he thought it was a mistake. >> if he felt so strongly, he should have advised you otherwise. >> he is a politician. he relies on our political expertise as much as we rely on his business acumen. >> maybe we shouldn't point fingers until there is a problem. beau willimon is here. he is the man behind "house of cards." he is the creator, show runner, and lead writer. a schemingllows politician played by kevin spacey as he politically -- navigates the political waters of washington. here's a teaser for the season. well and faithfully discharge the duties of the offices of duty i'm about to enter, so help the goddard one

heartbeat away from the presidency and not a single vote cast in my name. democracy is so overrated. let's start this new chapter with a clean slate. >> i know you will do whatever you think is best. aggression -- the connections are troubling. >> this goes all the way to the white house. >> i need you to lead all of our phone history. >> you want me to walk away and act like i don't know anything? >> he is convincing the president to change his mind. >> it would be making a mistake. >> i feel like i'm losing control of my own administration. >> hit him again. >> he is a dangerous man. >> i want him obliterated. >> let's make them suffer. >> i don't know whether to be proud or terrified. >> i think people believe that

your marriage might be a little more calculated than you let on. >> i told you to stop back channeling. >> i can turn this around. >> i think you set her up. >> i know how to handle it. >> stubbornness is far more costly than obedience. >> you let me know if anyone contacts you. >> a.j. green, fbi. >> you cannot run away from this. >> i need to know that i was not a part of it. >> finish a thought. >> part of the murder. >> i won't submit myself to the sort of exposure again. >> in my really the sort of enemy you want to make? -- am i really the sort of enemy you want to make? >> you are out of line, frank. hunted.or be welcome back.

>> i am pleased to have beau willimon at the table. let's talk about the new season. let's quickly do a quick retrospect. how did you find this? >> four years ago my day -- my and saide me a call david fincher wanted to do a television adaptation of the bbc version of "house of cards." , anyone whot it writes paul takes in the fictional world has heard about it. it having a conversation with avon fincher was the end -- david fincher was the end result, then it was the thing to do. i saw it and saw opportunities to make it our own. got on the phone with david. we shared all of our thoughts with one another and a lot of the same instincts and impulses

and decided to team up. init was a huge success britain about the parliament and the prime minister and intrigue there. and deadly, to say the least. you come here and you have to write this. you know the characters you have. what was your model? frankin your mind to find underwood, played by kevin spacey? who is now the vice president? >> it started in an organic place. the bbc version was fantastic. he came from a place of aristocracy and privilege. i thought the american myth of anyone can be president coming from nothing and working her way up to the white house was powerful. i wanted our francis to come from a small town. from south carolina. he grew up in greenville. there is a catchphrase phrase in the bbc version.

you very well might think that i can't possibly comment. when said with a british accent, it it makes perfect sense. of an is not the diction american. i thought, what kind of diction that's what kind of -- what part of the country with addiction make sense from? so i asked dad, what is a small town in south carolina that would be the last place that you think a president would come from? he said gaffney. it is perfect. a small town off of interstate 85. it is a place called hope. >> let's look at this and we will come back to other things. a moment between frank and claire. >> is she alone? >> yes. >> we you give us a few moments, please? >> what is wrong? >> it was him.

>> who? fresh in the mirror. --you mean please. don't do anything. >> i am not going to pin a medal on him. >> you have to. >> just a minute. >> i am begging you. please. >> i said, just a minute! >> do not make a scene. please. what is the relationship between these two? >> i told david during our first conversation on the phone that i wanted to do something radical. i wanted to dramatize a successful marriage.

some marriages are dysfunctional and break apart and i wanted to people that drew strength from one each other. -- one another. their sense of power was mutual and equal. they just happen to operate by completely different roles that most conventional marriages would. >> it is an open marriage in a way. >> it forces you to ask questions like, is infidelity the right world ash word when no the is being roque and -- right word when no rule is being broken? for these two people, having a degree of independence and liberty is the key to the marriage. it is a way of expressing their mutual respect for one another. >> two things you brought from that, one a political story. it was in britain and it is here. secondly, you brought the technique of speaking to camera. it works. >> we outright stolen.

[laughter] one of the things we love about the bbc version was the director draft. for nine months before we started see ash shooting season one, he was doing a world to were of -- for nine months there we started shooting first season, kevin was doing a world tour of "richard the third." hey are complicit. they are his cohorts. >> as you look at the second season what do you think you had to do coming out of the third the firstt season -- season? the show on netflix was going to be a paradigmatic shift.

there was a lot of attention and we hope people like it. the response we got exceeded all of our expectations. that puts a good kind of pressure on you. you want to top what you did in season one. the bright, shiny new object of releasing all the episodes in one day or releasing a show onto the internet is not there. it is just the story itself. toanything, what it did is motivate us to expand the scope of the series, to deepen our exploration of our characters, and challenge ourselves to do even better than we did before. >> this is what your friend said -- with most other writers, you would spend time educating them about the reality of politics. he worked on three campaigns with me. he is being very kind. i was always very low on the totem pole, doing in the

trenches type of stuff. he got me into politics. the first campaign i worked on was schumer 1998. j pulled me into that campaign. he was a political wonder can't derkind.n jay gave me access to the inter-sanctum of what was going on in the birdseye view. what i learned anecdotally from what he share with me to write "the ides of march." it tapped into the world of "house of cards." >> the movie made by george clooney. >> it would not have been made without him. really passionate about that project from the very beginning. he stuck by it and put in on a lot of hats -- reducer, actor, writer. he is superhuman. >> have you seen monuments men?

>> i have not. we are in the midst of writing season three. we got the rent all. almost all of my waking life is concentrated on trying to focus on -- focus of season two. what did you have to do different? season one was pretty good. did you feel like you had to take it here, develop character? claire, definitely. really, the marriage. one of the great discoveries of season one was how powerful this marriage could be. it is something people ring up to me all the time. we wanted to be important, but big -- that it became a centerpiece. we want to see how these people operate, especially now that they have both been complicit in doing something unconscionable. -- death of peter russo and the subsequent acts of

ethical, ethnically dubious -- what is that bond been now that they have blood on their hands? let's dig deeper into who are the two people that are capable of doing the sorts of things? >> this is claire and frank talking over lunch. >> he is very confident. >> does he have what it takes? >> i will see when i get his media plan. >> what about his personality? >> charming, direct, very thorough. he found our first interview together in 1986. >> i would love to see that. does he have a copy? >> i don't think so. the tv station made him watch it there. >> which screen for the president and show them how it is done. >> have you noticed anything strange between her and the president? >> how do you mean? >> ipass pass them in the hall yesterday. they seemed very intimate. >> they did seem cozy at the

prep session. you think -- >> no. not necessarily. >> an interesting thought. >> landed the idea, did you -- planted the idea, did you? >> what i love about kevin and robin is that they muse off each retailer. when you put them in the same frame, the scene lights up. we saw their fearlessness is a real asset to us. i remember where we were shooting that scene in the bathroom, what frames that scene is that claire has been didronted with someone who something pretty terrible to her in the past. francis is getting wind of this. that was the last scene of the day. we are at about 3:00 in the morning. the commitment, their work ethic, their ability to throw themselves at these very difficult scenes and to give so much to each other is what

allows this marriage that we are trying to investigate to be so powerful and complex. it is really the strength of their craft and the power of their commitment which allows that marriage to be what it is. >> this is kevin spacey on this program talking about frank underwood. >> what i think people might enjoy about francis as a character is that he has no allegiances. he has no allegiance to party, it is not about democrat, republican, or ideology or passion. it is about opportunity to move forward. that is what he sees. that is what he does. >> there it is. there is kevin spacey telling you what it is we like about frank. >> he would know better than anyone. he does a great job retraining him. proteinind -- great job -- portraying him. what people ask about frank is, is he good?

is he evil? he does not see himself through that lens. he sees ethics and morality as a form of quicksand. >> he sees the end justifying the means. >> if i offer you progress, doesn't matter why i am doing it? even if you don't agree, i would rather view forward momentum and stagnation. if that does not work, let's try something else. are stuck in the sand, we can do nothing. i think that is attractive to a lot of people, especially now in our political time it. -- political climate. he sees ethics as a form of cowardice because it describes your behavior. it does not give you choices. whether you agree with that or not, that is his worldview. he would smirk at the question, are you evil? would say, what gets me one step forward. that is the question i want to ask. that is how frances approaches

life. oneho is -- was there political character, one book that would tell us who frank underwood is? is it lyndon johnson? >> lyndon johnson is the most informative, by far. he is not a template. we are not trying to create a parallel. the books are endlessly -- >> informative. >> informative in terms of the complexity of the lyrical soul. in lbj, you see someone who came from nothing. fighte someone who had a every step the way to get where he was. you saw someone who was absolutely determined to achieve what he set his mind to. someone who really felt more comfortable, i feel, behind the scenes, in the shadows, then in the spotlight. all of those things are

applicable to frank underwood. >> that is where his gifts were. >> that's right. we see france's struggle with that. -- francis struggle with that. he is a contradiction. power, someone who wants and power tends to put you at the center of the chessboard. yet, he feels most comfortable at the edges. how do those two things mash? things wee of the big ask in season two and beyond. >> thank you. back in a moment. ♪

we are in good condition and i feel him a one of my theories is that, to get our players in better condition than any team we are participating against, whether they are or not. if they believe that, it will help them a lot and it is always been my philosophy to go with six or seven men until games are won or lost. >> john wooden was considered

one of the best coaches in college medical history. decade, -- college basketball history. over the next decade, he more -- won more games than bill walton. a new biography looks at the man who was called the wizard of westwood. the book is called "wooden: a coach's life." the man who wrote it is seth davis. >> i wrote a lot him -- a lot about him and in preparing for those interviews and writing about him, there was a much deeper story to tell. we have been presented with this two-dimensional figure who never had a bad day and no one said mean things about him. we know that is not real life. it occurred to me that no one had written a book like this. i would consider to be a classic biography from a perspective of

a journalist. i want to write about the third dimension, which is not to say a book as a takedown, because it is not. a sweet about him as old guy reading poetry and is dan. guess what? he was extremely competitive. you do not win 1010 -- 10 championships by sitting in your den. he did not believe in talking players to his games and he had to have someone to talk to, and that was referees. a lot of great achievers, he was very insecure. like a lot of people that came out of the great depression. part of it was coming out of the great depression, and on his wedding day had $900 in the bank. money. that was a lot of the next day, it was all gone. all the treasure you can accumulated a, it can be gone tomorrow. >> he went to the depression for

a long time. would never buy anything on credit. >> there is something about people who are ultra competitive, come -- particularly in sports. there is a sense that whatever we do is not going to be good enough. the art of john wooden's life is that the 10 years he won those national championships were in large measure the 12 unhappiest years of his life. he was dealing with pressure, expectations, and criticism. he was very thin sin -- thin-skinned about criticism. my good friends in coaching, i wish they would win one national championship the one i don't think highly of, i wish they would win several. it took him 16 years to win a national title. then he started win, the team would not lose by enough. then he was winning by so much that he was criticized for ruining basketball. you're ruining the game by

winning 88 games in a row. he had health issues. yet a heart attack, sleeping issues, hypertension. his last championship in 1985 talentedbly his least championship team. he was very much on top of his game. well, of course he won championships because he had the walton. i would say, ash bill -- he had it bill walton. his first championship, he did not have a single start over 6'5". that was gail goodrich. of people don't realize about john wooden is that he was ahead of his time in his style of play. he was not a great strategist or tactician but he believed in up tempo tactical -- basketball. once that train got rolling, he could not get off.

between the civil rights movement and the antiwar movement -- and i did write a lot about sam gilbert, who was a ucla booster, a wealthy real estate developer who lived in los angeles who over the course of many years lavished favors on john wooden's players who were in violation of ncaa rules. >> what favors? >> it was not straight cash. as you look through a prism of 2014, it almost looks quaint. he would buy tickets above face value. you point out restaurants where they could eat and not have to pay. he could go to clothing stores and get discounts and not have to pay. they talked about it being a referral service. he was the de facto agent for ucla players. he represented bill walton. this was all in violation -- he was not even a secret. they were clear violations of ncaa rules.

because ucla had it going and they were the cash go -- cow, they never did anything about it. as part of his legacy. i felt it was important to address it accurately and in context. >> was he a workaholic? >> mib overstating. he emphasized one word, it was balance. he worked very hard but kept in balance with his family live. one of the reasons he was not popular amongst other coaches is that if you went to conventions at all, she was not out with big eyes. he was with his family. he did not go out on the road to recruit. >> every other great coach is been out to recruit. dean smith recruited. >> no question. this is one of the reasons why if people ask john wooden would be successful today, i would say he had to adapt.

he would have to recruit today. it was a different time. it took in 16 years to win his first national championship. he had an assistant coach with named terry norman that recruited a lot of the early players and then won the title in 19641965 with this up-tempo style and here is this incredible seven foot rotted she -- prodigy from new york city. if anyone was ever too smart for his own good, it was kareem. he was seduced by the hollywood produced image of california where there was no racism and everything was sunny and great. after everyone promising the wooden promising nothing but a chance to get an education and connected with him. i think kareem is the best to ever play. >> the college game? >> basketball, period.

with all respect to michael and lebron, you talk about high school, college, and professional, i think kareem was the best. championship train got rolling, a kind of had its own woman to vary wooden was -- it had its own momentum. people revered how the walton did. a lot of it created its own momentum. who did he remain closest to. all of them? he is legendary for having a wonderful relationship with the players. >> very much so. what is interesting is when people say to me, what did his players think of him? my answer is, there are two guys. the guy they played for and the guy they were able to have a relationship with well into his

90's. you had him on the show. i think he was 92 or 94. >> it was clear. it did not feel like you're talking to someone who is not there. >> to the moment he stopped breathing, he was 100% mentally sharp. his body gave out. he was not emotionally connected to the players. he was not involved with their personal lives. that become old of the 60's, he would even counsel them against interracial dating. because he had issues with it, but he knew other people dead and that might cause trouble. a lot of these players, they left their experience playing for him with ambivalence or hostility towards him if they did not play. the beauty is he lived to be almost 100 and he was always available to them. get older, our fathers get smarter. funny how that happens. they became teachers, businessmen, doctors, lawyers, and dads who at kids of their

owns who thought they did not know who they were talking about. they were able to process the things that he was trying to teach them when they were not so receptive and call him up and go to breakfast with him. thats wooden people do n know is that he aspired to be an engineer. havhad hing goi bse he s order and details and things in their place. he chose purdue because it had a civil engineering program. otherwise he would have got to indiana. he learned that he have to participate in a summary engineering camp as part of their program and he had no money. yet to make money in the on theime which put him path to english and on the path coaching. he became disconcerted with the way parents were focused on their children's grades. his feeling that a child getting a b is a success because that is the best he can do. for this child, getting a b is not success because he did not

live up to his potential. >> here is a quote -- someone asked me why it took so long to win a national championship. and as i said, i am a slow learner. what you notice when i learned something, i have it down pretty good. >> 14 years to when the first ncaa tournament game. you think a coach now would go 14 years without winning a game in the tournament? he was developing his craft year, day by day, practice by practice. he wrote them by three by five learned thatnd he in practice. there was no fire and brimstone street. i have done my job. -- brimstone speech. i've done my job. don't look over to the bench. he lost a couple of games because he would not call timeout. it was really an ethics class that he never intended to be coaching basketball and

something called the astrodome. it was never in the grand plan. >> why is he the best in your judgment? >> because of the turnover that a terse -- that occurs at the college level. phil jackson, my neighbor in chicago andchael in kobe and l.a., all of the championships. john wooden, even lombardi -- i would say those are the mount rushmore. --john wooden, phil jackson vince lombardi -- >> and read our back. >> because they did not do it one time. >> bill russell to you that it is harder to keep winning with the same players because tensions build up and it is hard to sustain. there's a great argument to be made there. again, you're talking about a guy who one with seven foot

centers, small starting lineups. .e won a lot of different ways not only with the usual roster in college athletics but at a time of incredible social and evil. >> this is when he was 90 something on this program. talking about aslan coaching and life. >> for years, i would take an extra course in psychology. just to learn something about working with people because as far as knowledge of the game, be it baseball managers are basketball teacher cultures or whatever, i think the knowledge -- there is not too much difference but there is tremendous difference in the way they can get those under their supervision to get together for the company. >> he has a tuxedo because he was going to an event. >> i felt underdressed when i saw that. [laughter] >> russell and walton were there. we did a program with him and some of the guys.

bill russell never played for him, obviously. love him. >> eb him. -- he beat him. >> there were two forces in the west to prevent him from beating -- advancing. -- the first was bill russell. the second was the new. -- pete no. -- newell. indiana guys, very strong-willed. samt of it had to go with gilbert. when ever you want to say about bob knight, and i am a fan of the boorish things he has done, there has never been it with of impropriety with ncaa rules with him. >> everyone knew about gilbert? >> everyone. jim murray, the legendary "l.a.

times" columnist wrote that sam gober was more important to ucla basketball than the building of the pavilion. they were unhappy after the sophomore year and talk seriously about transferring. it is when they were put in touch with sam gilbert and related them on a personal level. was an old jewish guy who is able to connect with them on that level. he filled that void. whenever people would ask wooden about him, he would say he is a fabulous teacher. i may not approve of all of his methods, but he is a great coach. that really irked a bob knight to know that. he wasn't close to his players. ? >> when they played for him. that came later. i asked him this question.

a lot of the players i talk you said you were not really invested in their personal lives. he said whether they think i was or not, i was very interested that -- interested in them as someone said, it is interesting that he diluted him so. when i play for him, i did not like that man very much. that does not mean that john wooden was very wrong. at the time you're talking about a 20-year-old african-american kid from inner-city kansas city. he did not always understand. somethingut with might be surprise coming from a hugely successful basketball coach, but here it is. we were right next to the vietnam memorial. been, theres ever was an incredibly emotional experience. we walked out of there we both had tears running down her cheek. coach recited an incredible poem. he is so phenomenal with his poetry. >> your member what it was?

no oralitten word, plea, can teach our youth what they should be. nor on the books on all the shells. it is what the teachers are themselves. they asked me why i teach. they ask me why i teach and i reply, where can i find such splendid company? statesman, unbiased , >>. a doctor sits behind him was quick, steady and may mended bone or stem the lifeblood's flow. and they're a builder, -- and there, a builder who built the upper spire on the church. those who man -- those men who work and build until tomorrow. may not eathat i

the food or see the church or hear the word and where they speak and yet again, i may. and later, i may say, i knew him once and he was work will -- week or strong or proud or bold or gay. i knew him once, but then, he was a boy. he asked me why i teach, and i reply where can i find such splendid company? >> 92? i couldn't do that if you paid me. >> thank you. back in a moment. ♪ many lights appeared above my head and they were like a latter of lights with many wrongs. -- rungs. i seized the first and began to ascend from the river. ladderer twisted -- the twisted and it was not easy to climb, but the bank began to

receive from me as did the waters and i took therungs of this latter one by one. >> matthew barney is here. he is an artist and film maker known for the cream maker -- cremaster sidle -- cycle. he has worked on the film since 2007 with composer jonathan dentler. it premieres at the recording academy of music on february 12. i am pleased to have him here at the table. -- howthe start for you did this start for you? i lost my weight with the films i had been making. >> lost your way? >> i felt like i was going to repeat the same pattern over and over again. could let go ai

little bit of control, the control you get used to as a find aer, that i could new perspective. jonathan and i had been talking about taking on a form of opera and sunway -- in some way. what we had done in the cremaster cycle but in front of an audience, doing it in real time. waying it happen that the it often had onset, in the sense that i often set of scenes anyway that is much more to do with the performance than traditional filmmaking. i tend to set up a situation and let it run. in that way, i film more than i need to. it is not economical but it is the way i have voice done it. in a certain sense, we felt that if the audience could see what wouldpening onset, they

have a greater understanding of what the spirit of the project is. normanthat same time mailer invited me to an award ceremony. theas effectively given french legion of honor. i talked to him afterwards and he said, have you ever read this book? i said i hadn't. he said you should read the first hundred pages and get back to me. >> sure. >> sure. why? >> he said, i think there's something in this for you. i said, i don't want to make films right now. i went and read the book, read the first hundred pages, and they wrote back saying, i am interested in this but i am interested in using a libretto for whatever it is jonathan and i are talking about. if this is an opera, if this is piece of situational

theater, i am not sure what it is but it is not a film. the room passed away not long after that. .hat we ended up is a hybrid it is somewhere between documentary footage of performances, live performances, and a piece of cinema. >> you are going to make a before he died -- you were going to make it before he died? >> yes. "ancientsidered evenings" to be his best work. he thought it was his most misunderstood work as well. talk about that. >> we didn't talk about that. we talked about cremaster three -- >> your work, not his. ofwe use that as a way talking about the book because " l with masonic and this-- mythology

do with the egyptian mythology. when he's just of, i thought i had already dealt with egypt and mythology as directly as i would be comfortable dealing with it. "ancient evenings" is about the core mythology of isis, osiris. i was terrified to read it and think, how can you do with this material in a way that is not cliché. mailer, and this hypersexual , but itch interested me was also a form of explicit sexual imagery that is different from the way that i would choose to do it. i wouldnother way in, say, the eroticism of the book was another way in for me. >> what is the story fundamentally about? fundament" is as

influenced by harold bloom's review of "ancient evenings those quote as it is by the text . he suggested it is autobiographical. that there is a protagonist to as a nobleman. the nobleman work for the pharaoh. the nobleman invariably once with the pharaoh has. sorcery to figure out a way to live again. through these tricks and devices, he can have life again. although, by blood he does not deserve it. maileruggested that if is the noble man, hemingway is the pharaoh. great wanted to write the

american novel. and that that position may have been a time when america did not need that. as cinema became more and more important, whatever the reason. mailerlationship between and hemingway over the pharaoh and the nobleman became central to "river of fundament." >> norman was on the show if number of times and in this clip, he talks about reincarnation. >> i believe there is a life after death. i believe in reincarnation. it makes sense to me. for you have all the stuff unless it is used over and over again? >> any notion of who you would be before? >> no. >> you get a notion that you have to work because you have not hit the homerun the you have

not wanted to it? >> you never hit the homerun you wanted to hit. >> mozart died in unmanned -- an unhappy man. >> yours have to keep your sites above what you have done so far. i will buy dissatisfied, of course. -- die dissatisfied, of course. >> does that resonate with you? >> yeah, of course. again, when the book was suggested to me, or handed to me in a certain way, i started feeling like the -- my touching point, which was "cremaster 3" and its relationship to egyptian mythology that all i could do was collide two languages there were very much at odds in the and theat "cremaster 3"

"cremaster" cycle was an entropic cycle and i could only collide this without model which was more religious. met became interesting to and i think it led jonathan and i eventually to add the language of whitman and emerson and other of collidingway with mailer's language, which happens more and more as the film progresses. >> take a look at this. scene in theal film. >> it is early in the film, but it is central. >> here we are. we are here to celebrate norman songr, a man who, as the

goes, did it his way. seemedpublic key never afraid of his own mortality. not norman area no. was at, in reality norman deeply sensitive soul full of doubt. i remember when "ancient evenings" came out in the early 80's and nobody like it. here was a sprawling, ambitious work hurled into the arena and no one bit. norman did not seem to care. but i know he did. the world was not ready for a book like "ancient evenings." we didn't understand it then. now we can. ♪ now we can. we do.

i think i speak for all of us when i say we love him. very much. what did we just see? >> it is the beginning of the film in a sense that the film begins in a much more naturalistic way. there are guests at a wake for norman mailer and over the course of the film, slowly the naturalistic guests are replaced by spirits, including several spirits of norman himself. what i guess we are seeing is the order of that change. thescene that follows is first spirit of norman entering. important, music begins to creep into the room.

in the sense that this film has something to do with the tradition of opera, the scenes are something like the very beginnings of the narrative as it is sung. this happens more and more as the film progresses. >> among the people there were some and he, liz smith, maggie gillen all -- maggie jill and gyllenhall. why them? a some of them had relationship to norman. i think it was an idea to create them in a believable way. other actors were cast as an extension of making it naturalistic, to find people who that.ility aligns with

for example, paul giamatti, ellen burstyn word chosen for that reason. >> you wanted me to come in participate but our schedules did not match up. it looks remarkable. you put it on a barge. >> this is the top floor of a brownstone in brooklyn heights. that is 1-1 scale. roof andened up the built an extension on top which is quite eccentric. ropes these ladders and and plank ways that he would descend and cross every day to crow'sa position in a

nest of sorts where he could look out the window over the new york harbor, said at a desk, and right. -- write. when i first visited, that resonated very much and that ended up being another structural element in the film. the film ends in thatwriting position. the last version of the spirits of norman, who is performed by chief david beautiful bald eagle, a lakota man of 95, is the one who occupies the chair. >> what is the elation should you have with butler? >> he did the music for the "cremaster" cycle. in the case of those films, it was sort of a combination of traditional scoring to developing scenes together. in this case, we developed all of it together. we start with the writing together and set up each scene

as a condition for music, whether the physical situation would drive that or the musical concept would drive that. there was a little bit of both. it was collaborative in that sense, that we started writing it premieres on february 12? congratulations, matthew barney. thank you for joining us. see you next time. ♪

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>> this week on "political examine iran sanctions. debates the carlson future of chris christie and obamacare. weekend the -- we began the program with the elected chairman of the senate finance committee. thank you so much and congratulations. you are an advocate of tax reform. but there is no way you can do a comprehensive reformhi