>> from our studios in new york city, this is "charlie rose." ♪ >> "the death of klinghoffer" was written in 1991, telling the

story of a hijacking of a cruise ship and the killing of one of its passengers, who was shot and thrown overboard in his wheelchair. it premiered overnight at the metropolitan opera house in new york. hundreds of protesters called the piece anti-semitic and inflammatory. others viewed it a masterpiece. the performance has raised questions about the responsibilities of an institution like the metropolitan opera. joining the are two first amendment lawyers on opposite sides of the controversy, martin garbus and floyd abrams. floyd, what is wrong with this? >> first of all, let's say it is protected by the first amendment. >> yes. >> they have every legal right to do this. and he has every legal right to put this on.

i find it disturbing and morally obtuse that they would choose to do so. this is really a work, perhaps even a fine work, but a work about the death of a real man, the murder of a person who walked the streets in new york, making it a two-side issue. there is a debate. there is a side with beautiful arias sung about what they lost in israel, an israeli side, and a dead man. it seems that peter gelb would not have done an opera of the same sort about the death of martin luther king, making a debating topic, should he have been killed? or the death of john kennedy, making a debating topic, should he have been killed?

take one of those, or the people who died on 9/11. the idea of a beautiful aria sung on the killer's side seems to me morally unacceptable. he can do it, but i find it very troubling that he did. >> i think this is a very sensitive meditation on violence and hatred. i saw the opera back in 1991. my understanding is floyd has not seen the offer himself. >> i have seen a video of the opera. >> seeing a video and reading the libretto is not an opera. the difference between what i saw in 1991 and what i saw this week is extraordinarily significant. floyd misstates the story.

the captain is a pivotal character, and to say, to characterize the opera without having seen the opera, this was done years ago by other countries. so to evoke that here is unseemly. the captain is portrayed as a peace-seeking figure. klinghoffer is perceived as a man who was murdered brutally. the most beautiful piece of music in the opera is the aria of mrs. klinghoffer, talking about the torment she suffered, the torment the jews suffered. the captain hears the dispute between the palestinians and the jews, the characters, and said there ought to be a discussion, there ought to be a debate, and then there will be peace. both sides turned it down. this characterization has nothing to do with the opera. both sides turn it down.

after they turn it down, the captain turns to them and says, there will be a failure, peace will not come unless people talk to each other. the beauty of the opera, in the new york times i said it deals with the frustrations and anger of different peoples. therefore it should be heard. let me say one thing. one of the most significant things i can think of when i think of the first amendment. i was with andre sakarov years ago, talking about the american atomic project and the german atomic project. he said, the reason the american project succeeded and the others did not, is because in america you can say anything, you can think anything. and because you can say anything, therefore you can think anything. you can constantly go against authority figures. that is the same here.

the whole question of the middle east, the question of the holocaust. many people are criticizing this. there's a whole group of people. rudy giuliani, i am sorry to say, invokes floyd's name when he spoke at the rally. a bunch of people saying, the opera should never be shown, though i have not seen the opera. >> number one, as i hear what floyd is saying, he says he perfectly understands the right of the metropolitan opera because he is a defender of the first amendment. he thinks they should have exercised better judgment. you think it should be able to produce anything it wants to do. >> i cannot decide what the opera should do.

the other night you had martin amis, who wrote a book that was extraordinarily controversial. he explained what drove him to write the book. you had the primo levi quote, the adorno quote, writing auschwitz is barbaric, yet there must be writing. and one of america's most significant composers has previously done operas about controversial subjects. dr. atomic, critical of the united states. "nixon in china," which showed kissinger in a bad light. he has a perfect right to do that. how can floyd say to people, you should not see this, you should not hear this? one group, jewish groups,

minority groups, irish groups, black groups, do they have the right to tell people what they should not do? black groups try to stop it because thought it portrayed blacks in an unfavorable light. it is now recognized as a classic. >> there is another part in the first amendment, dissent and protests and disagreement and passing judgment. we pass judgment all the time. peter gelb passes judgment at the met all the time in making decisions about what opera to put on and what not. the piece i did in the "wall street journal," i raise the question, would he have even conceived of putting on an opera about the death of martin luther

king with beautiful arias sung from the point of view of his murderer? and communications and arguments from one side to the other side? we know the answer is he would not. >> the opera, the captain says, whatever chance there was for peace, whatever point you want to make by seizing the boat, you lost it because you killed somebody. it does not come down on the side of the israelis. the courses are the same people. people portraying palestinians, and the same people take off their costumes in the opera, which you did not see, and they become the jews. they are not treating murderers and victims the same. the captain condemns the killing. >> i understand, but what you are doing, what you are saying, really, is that this is a

perfectly fair tit for tat, one side, other side, but the reality is there was one murder, and the man -- let me finish -- the murdered man had nothing to do with the middle east. his only crime was that he was jewish. >> why did they cancel the hd simulcast? >> i think they did because of pressures brought to bear. >> the articulated reason was there was a level of anti-semitism abroad which was said to be potentially inflamed by the opera, and therefore they would treat showing it abroad differently from showing it here. i don't have any objections to them showing it. but i think the protesters have a right to have their say. >> you don't disagree with their

right to have a say. the classical music critic wrote "the decision to cancel the hd simulcast and radio broadcast represents a dismaying artistic cave-in." >> i understand a lot of pressure was brought on them. you saw demonstrations on the street by people who had not seen the opera. >> you respect their right to do it? >> of course. but at a time when synagogues are being burned, swastikas are put up throughout the world, le pen is so powerful in france, what better time to have a debate?

>> they say the opera presents false moral equivalencies and offers no insight into the senseless murder of jews. the critics say something different, the art world says something very different. i can understand their their agreement. with respect to whether or not you can have an opera about the assassination of martin luther king or john kennedy and present different views, of course you could do that. >> but would you do it, marty? you know they wouldn't do it. they wouldn't have beautiful arias saying it was a good thing. >> it is a work of fiction. it was opposed for years by black people because of the way it portrayed the black community. >> all that means is that they can do it. we are in agreement. they can do it. the question here, the judgment we are entitled to pass, the issue we are entitled to

discuss, is whether they should do it, not whether they may do it or if people might see it. i think, my view is that the issue of whether he should have been killed is never an issue. >> this was a question. peter gelb had called "the death of klinghoffer" arguably the greatest operatic writing from america's leading composer of contemporary opera. the literary editor of "the new republic" says it is beautiful writing, but the idea it is original genius is absurd. mainly, the problem is it is fascinated by the perpetrators and bored by the victims. the perpetrators are dark and mesmerizing and romantic and tragic.

the victims are whiny and cliched. >> leon is entitled to have his opinion. there are 37 reviews that have the opposite. that is not the opera that i saw, and not the opera most major critics have seen. i don't know if leon like floyd has also not seen the opera, like giuliani has not seen the opera. the number of people writing about this. people have not seen the opera and they are passing judgment. >> what did he say? >> he described it the same way. the exact same way. >> i think, charlie, that is the passage, the romanticizing of the murderers. that they found most upsetting. >> these are the last words the audience hears. mrs. klinghoffer is crying in the last aria.

if 100 people were murdered and their blood flowed in the wake of this ship like oil, only then would the world intervene. they should have killed me. i wanted to die. this tragedy, the author puts it in a very global sense. to tragedy engulfs us because of horrors like the holocaust and the middle east conflagration that continues today. >> good to see you, charlie. >> back in a moment. stay with us. [applause] >> two quick questions. why a museum, and why chicago? >> well, i have been collecting art ever since i was in college.

i started, moved my way to illustrated art, the whole thing. i realized illustrative art, as most narrative art of the 20th century, was short shrifted. a lot of critics said, we are not dealing with narrative art anymore, we will do modern. modern will be everything. up to that point, narrative art, art that tells a story about society -- >> that is the definition of narrative art? >> art that tells the story about society. the kind of ideas that glue a society together. the visual mythology of society. like homer, or anything else. you say, these are the things we believe in.

these are the powers we believe in, the rules we believe in. these are the heroes we believe in. our history. all painted in images. the height of that was the 17th century. by the time we got to the 20th century, it dwindled down to being not insignificant, below all the other arts. illustrative art, which have the extra thing when science came in and developed good quality printing they could reproduce things, they started reproducing art for books and all kinds of things, there's a thousand copies out there. you still have the original, and as far as i'm concerned it is important to society. i realized there was no showcase

for this work. there was the rockwell museum. >> norman rockwell. >> the brandywine museum in delaware. little museums tucked around here, that nobody thought to say, this stuff is legitimate and it should have a place to live. >> not only narrative art. also cinema art. of place for you can watch movies. >> it is a regular cinematheque, where you go to watch movies. we have archives. at the same time, we will be able to show regional films, also show all kinds of movies. experimental, foreign films. and have lectures, have people come in to talk about the movies and how they are done. we have another area that has

been blown all proportion, of the crafts made to going into a movie, which is an art form in itself. you have the sets, like the architecture. we will have examples of that. we also have props. for people to learn how a prop is developed, in the past, doing research and finding an accurate way to portray something and how to make it personal. and also futuristic, most science fiction films. those are designed from scratch and drawn. we also have costumes, fashion. costumes you design for a character to develop who that character is. who he is by the clothing he

wears. fashion is the same thing, but somebody picks the costume they want to represent them. you dress a certain way because you want people to think of you as having a certain personality. so we have both examples of those, and that's the part everyone calls "the star wars museum." there will be star wars archives there. >> indiana jones. >> indiana jones, lord of the rings. >> not just your movies. >> not just my movies. a lot of people. but movies that rely a great deal on design. >> when you started off, did you have a natural skill as a storyteller? were you one of those people? >> no. i did not know anything about movies. i like to build things.

when i was young, i built houses, clubhouses, soapbox derbys. then i started to build cars and work on cars. then i was in an accident and i figured i should change my life, so i went to college, junior-college, and studied social sciences, which i loved. i got very connected with that and went on to san francisco state to study anthropology. through a fluke i ended up going to usc and studying cinema. i was shocked that they had courses in making movies at a college. when i got there i realized, this is for me. i fell in love with it, and that was the end of that. >> you wanted to tell personal stories in the beginning. small movies. >> my experiences in san francisco, where there was a very large experimental film community, canyon cinema.

that's what i liked, pure cinema. when i went to school, i don't like scripts, i don't like characters. but i got a scholarship to study at a studio. it happened francis coppola was directing the only movie there, because they were transitioning from jack warner leaving to another canadian company. so he is a writer and a director, so we formed a bond. because photography, editing, actors, writing scripts, are all tied together when you're making a movie. so we complemented each other well. we made a movie in six months and decided to finish in san francisco. i wanted to live here. i did not want to live in hollywood.

so we started a little company. i had a chance to make a movie for a studio. i did not know if i could do that, but i will do one that is kind of half experiment film and half story film. i will never get a chance to do this again. i may never get a chance to make a movie again. as it turned out, i made a movie that is now what we call a "cult classic" but at the same time it bankrupted the company and set is out in other directions. >> what was the title of the movie? >> "thx 1138." [applause] >> what did you learn from francis? >> i learned how to write screenplays, and i learned how to work with actors. those were very important. he did not completely convinced me that type of moviemaking was what i would be that interested in.

oddly enough after thx and the company went bankrupt, we had to make some money. i could not make any money. i was still a year out of film school. i said, you will have to get a job and pay off this loan. he said, they offered me this thing, a gangster movie. but it is italian, and they will pay me a lot of money. he did not want to make it. he did a lot more than direct that movie. he worked on the screenplay, test it, what with the studio. there was blood everywhere on that movie. he did get it made the way he wanted. i said, i don't think you should be making these experimental films. i don't think you should be making science fiction films

with robots, where it is all artsy-fartsy. i dare you to make a comedy. i said, i guess i could write a screenplay. he said, that is what you should do. so i started working on "american graffiti." at least it would justify all the years i wasted cruising the main street in town. i got offered jobs in hollywood with lots of money, but i decided this is what i wanted to do. i spent a couple years trying to convince studios to make it. >> then you made it and it got great reception? >> no. >> i made it and we showed it at a preview screening. the audience went berserk. they hated it. they said it was not fit to show an audience, how dare you?

we will not release it. maybe in the tv department. so we basically, whenever they had a screening at the studio we would bring the film down from san francisco, and instead of booking a little theater, five or six executives from the tv department, would book a 500-seat theater and say, ask all our friends, everybody come and see the movie. these four guys would be sitting in a huge crowd, and every time we showed at the crowd went berserk. after three or four of these someone said, an executive has said, that the underlings said you should really see this movie. it's good.

they said, we will release it, but they released it in august, the worst time to release. it was not a giant hit. it did ok. >> it became a cult film. >> in those days making $20 million, now that is the lower end of having a hit. get made a little over $20 million the first week. third week, $25 million. it stayed in the theaters and entire year and never dropped. so for a $700,000 investment they made a $100 million return. then suddenly i was very hot. [laughter] before that i could not get work. >> then you got "star wars." >> when i was trying to pitch "star wars," i had the idea to do a film. it was an idea i had about

psychological motives in mythology that are so accurate today. >> is about good and evil, heroes. >> good and evil, what is friendship, what is the idea of sacrificing yourself or something larger? they seem very obvious, but it's not that obvious to a lot of people unless you have people tell you every generation, this is what our country believes in, this is what we believe in. star wars it was, the religion, everything was put into a form that is easy for everybody to accept, so it did not fall into a contemporary mode where you could argue about it. it went everywhere in the world. they could say, the things i believe in are the same as that. most people in the world believe in exactly the same thing. when i was eight years old and my mother was putting the two that i said, if there is only

one god, why are there so many religions? it is a question that fascinated me ever since. if you really look at it and say, most people would say, what is the difference between a shia and a sunni, a catholic and a protestant? they are not different. or if you believe in the jewish god, or buddhism is a little different. but if everyone expresses it differently, but basically don't kill people and be compassionate and love people. that is basically what star wars is. [applause] >> then you sold it in 2012 for $4 billion, they say. in that company you had "indiana jones," another great classic.

of the top 10 grossing films, i don't know how many you have, but it is a bunch of them. was it because you were tired? >> well, i turned 70. my whole life centered around me doing, you know, these avant-garde experimental films. films that you don't know whether they will work or not. you are playing with the media, which is what i wanted to do. all my student films were like that. everything i did was like that. "thx" was vaguely like that. i always said, if this fails i will go back to experiment with films. they would say, when are you going to do your experiment of films? i got caught in "star wars." lots of opportunities. i said, i like star wars, i fell in love with it.

and after i completed it i produced films. at the same time i came back and did the back story and then felt, at some point there's three more stories. but it takes 10 years to do that, to do all three. i said, i don't think i can do that. i want to go do my experimental films, and i was moving between chicago and san francisco and all that stuff. i wanted to make my life so i could live in chicago, live in san francisco, make my little art films, build a museum, take care of my daughter. that is what is important to me. at the height of my career after, i had a daughter who was a year old, and i was married.

my wife, we got divorced and i was left with the baby. she was adopted. when i first held her in my arms in the hospital i said, this is the best thing that ever happened to me. so when she left i took the baby and said, i'm going to retire. i'm not going to direct any more movies. i adopted another baby, and another, and i had three kids that i raised for 15 years. then i went out of retirement and started writing again. and now i'm doing my own things. >> experimental films. >> that i really want to make. i think i reached the end of what i can contribute to star wars. >> how do you feel about the movie business today? you and steven spielberg were at usc. if we had seven or eight of these big extravaganza films, like a good choice of titles,

five or six of those don't make it, there will be an implosion. >> i think the issue is ultimately, what are you selling? you are selling creativity, raw creativity from talented people. the problem has always been with the studios. at the beginning the entrepreneurs who ran the studios were creative guys. they would take books and turn them into movies and do things like that, but when i grew up it was the first time they allowed film students in. before, you could never get in the movie business. in the 1960's, kids in from schools loved film. they just loved it. so they did not care that they could not get a job or make

movies or anything. they were going to school to stay there as long as they cut. so the issue the day i arrived on the warner bros. lot for the scholarship, jack warner left and they sold it to seven arts in canada, then to sony, and suddenly all these corporations were coming in. they did not know about the movie business. they said, maybe we should hire kids from film school, supposedly they know how to make films. so we could get jobs, which was a fantastic thing. so the producers produced the movies, set the budgets. all of my movies came in on budget and on time. and they made money. all my friends, the whole gang of people, made successful movies. but then the studios went back

to saying, we don't trust you people and we think we know how to make movies. i took a script course at san diego state, so i will tell you how to make movies. of course, that was, fortunately i got through before that really happened. then after star wars i was like, i am out of here. i was in san francisco, so i never really got bugged by l.a. because the executives had to fly to san francisco to talk to me. i said i will do the worst thing i can do, finance my own movies, but then nobody can touch me. so i did that. but for the guys who stayed behind, it was almost intolerable. the studios changed everything. unfortunately they don't have any information, and he don't have any talent. so what are you selling? they will make this a movie over and over and over again. if you can't say " it is just

like this movie" they won't do it. we were doing things all over the map. when fox did star wars, he believed in me because he loved "american graffiti." you never hear that today. you had to fight the board of directors, but he said, i don't understand what the thing is about big dogs flying spacious around. it doesn't make any sense. are you sure it is going to work? i believe in it. >> it is my movie. [laughter] >> but you can't do that today. certain directors get away with doing crazy things, but they are few and far between. if the studios keep doing the same cookie-cutter movie over and over -- >> it will be an implosion. >> and it costs a lot of money. star wars, i was financing it myself. and they were inexpensive.

it is because if one of them fails, i'm out of business. i can't make any more. i was just trying to keep it so i could keep making movies, and when i sold it i made much more money than i thought. but as opposed to some friends in l.a. who bought yachts, i said, i will not buy a yacht, but i will take a money i would use to buy a yacht and put it in the bank, and just spend it making movies. >> you also took the time to learn technology. you were really ahead of the game in terms of the digital revolution. >> i didn't even though some of my friends still refused to accept that world. we argued about it. at the same time, i started out with an editor and a cameraman. if you see a movie in theaters, usually it was really bad. scratch, chewed up, terrible. i had a company called thx that was supposed to make sure the movie looks good when you go to see it.

a lot of times it wasn't. that was an idea that stanley kubrick had. he was the first one to do it. with thx, we started working with digital technology. if we could digitize editing, it would be so much easier. i would not have to fish around for two frames of film. you would not have to spend 15 minutes trying to find a shot. so i developed the edit droid, which was later sold to avid, can worked with steve jobs on final cut pro. we did it with projectors in theaters, and -- it's that my mind, the name of the company we did it with. we did it with sony on building cameras, which made it so that the whole thing could be digital. we had been working digitally in special effects for years.

that's where we developed it. >> my point is, these businesses -- >> we did not do it because we wanted the technology. digital effects, we did it because you just could not do things. there were so many things you could not do. >> you did it because it would enable you to tell your story better. >> absolutely. that was the visual effects part. the next part was editing, which, you know, being an editor, there has got to be a better way. this is like being in the dark ages. we realized that if we shot it that way it would be easier to do digital effects. you have to do the whole thing. >> suppose i started this sentence -- i want you to finish it for me. i began saying, "george lucas revolutionized movies and moviemaking by --" finish that sentence. >> by luck? [laughter]

[applause] >> our thanks to george lucas. ♪ >> the great annie lennox is here. her new album is called "nostalgia," and takes her through the great american songbook. she offers her take on classics like "summertime" and "strange fruit" and "i put a spell on you." i am pleased to have her back at the table. welcome. >> thank you so much.

very good to see you again. >> how long has it been? >> it has been a while. >> where have you been? >> all over the place. traveling a lot. >> "memphis in june," "georgia on my mind," "strange fruit," "you belong to me," "september in the rain," "mood indigo," -- do you love those songs? enough to sing them with your own unique take. how did this happen? >> i never expected i would want to record an album of classic songs. it has, jazz has never been my genre. i love challenge, and i love to do something that is a little bit different. something that triggered it, i

was performing with herbie hancock. i was with his band in washington, d.c. i was extemporizing with them and having a joke, really, here i am doing jazz, it is funny. and it triggered something with me. maybe that is a direction i can take. >> what did you do then? >> i just let the ideas simmer. because i have a lot of ideas. many of us do. ideas are easy, but which ones you select and follow through on -- about a year later i had some time to spare, and the notion came to me, and i just started to explore the songs. nowadays with youtube you can have access to archived material

right at your fingertips. so i typed in, classic jazz songs from the 1930's. and thousands of songs came up. i just started to explore them. i was not brought up with them. >> you selected those that you like. >> i found a few that i thought were interesting. i would write the title down, and find out, who was the composer? starting to explore it. i started with a list, and once i had a big enough list that i have the opportunity to work on it and find out how i could relate them to my voice. >> you have also said what you have to do is first encounter a song that you are a stranger. >> in this instance, i don't want to feel as though i am just

covering it. that is a superficial thing to do. fine, ok. but i wanted to get right down and interpreted in a fresh way. >> through your own -- >> my own response to it. my own connection to it. >> when you got to "summertime," what did it make you feel? >> is ubiquitous. everyone knows it. you would feel it does not need to be covered ever again. yes when i went into the studio to cover it to see if there was a way in, somehow the song spoke to me. in a very easy way i sang it. i kind of did one take and said, i think i have done it. it was one of those really rare events when everything seemed to click and fall into place. >> did identify with one that i just mentioned more than any? >> is hard to pull one song out of the whole journey at 12. each one has its own particular characteristics. from the beginning, all the way down to "strange fruit," back to "mood indigo," it ends up being a celebration of life.

>> it is interesting that someone with your background had never listened to these, never thought much about them. you did not have a sort of jazz in your soul. or you had it, but it was not his music. >> blues has always been with me. r&b, soul music. it came from detroit when i was a teenager. i was dancing at 14 and 15 in the local dance halls. the residents of jazz was there, the blues, that was something i wanted to get to. >> you decided to not only put out a cd, but guess what? >> wherever those? you have box loads at home, haven't you?

>> you have this done in vinyl. a friend of mine said to me who is a great aficionado of music, i hate myself because i got rid of all my vinyl records. >> there you go. >> it comes back, because of the purity of the sound? >> a few things. the sound is very warm. when you play something on vinyl you take time to lay it down, lift the needle up. there is something about the warmth of the sound. the head of blue note label took me and my producer into his office, where he has a sound system. he played it to us when it was first pressed on vinyl, and it was a very different experience. you can hear in different formats. playing it in your car, you can

hear it on big, expensive systems, but listening on vinyl is different. >> "georgia on my mind," a song that i love. but i always think of ray charles. >> absolutely. and i realize i am going into quintessential territory. i was so smitten by the song, so charmed by it. the first entry of the first line, when he sings, i'm always thinking. then he says "georgia." he remembers. it is a song of nostalgia. all the songs are. >> he sort of hangs on "georgia" like he remembers as he utters the word. when i say feminism, what does it mean to you? >> feminism is a simple word for me. it means the empowerment of women, support of women. it means that -- hmm -- i have

seen countries were women and young girls do not have access to things we take for granted in terms of their own empowerment, in terms of their quality. i think there is a long way to go. feminism can be a very polarizing term. people think very different thoughts about it. it is an important word, because i don't think there is a substitute for the word, and we can't just throw the baby out with the bathwater because the word is confusing to people. >> some people use the word and say somehow i'm a feminist, and you believe that their commitment is more surface than deep. >> i welcome the debate. there's a lot of different takes on what feminism is. when i see very overt sexuality being played out in front of extremely young audiences i take issue with it. i don't necessarily think that

pole dancing and twerking is synonymous with empowerment. i take issue with it. >> because you think it says what? >> it sets up for example to girls, very young girls who are already very influenced by all sorts of confusing complex issues in society, particularly when it comes to their psychological health, their emotional well-being. when you think of how many single mothers there are who have not been given the education in their culture about access to contraception and also to things, when you see the disempowerment of young women giving birth to young babies at the age of 15, i don't think it's very helpful. >> it's the nature of both the lyrics and the stage performance. >> yes. i think this hyper sexualization is a methodology of radical marketing. it is about selling records. sex sells. i have nothing against sex, but -- >> it is different from the way you perform on stage, the impact

you could have. >> when you know the majority of your audience is very young, very easily influenced by your moves on the stage, seven-year-olds being exposed to certain things like that, i think it is inappropriate, and parents have cause to be concerned. nowadays we have no boundaries with the internet. so many things young people are exposed to, and we need to talk about it. >> what has been your evolution in music? did you look for things you have not tried? >> charlie, for the last 10 years i have been working more as a campaigner and activist in the context of hiv and aids. i have been very focused on that. music slightly went on the back burner. it is a whole new chapter in my life, actually. a lot of things changed for me. i sort of used the place i was as a platform. the music aspect stepped back. now just recently i felt i really wanted to make this album, really just for the record. i have never done it before. it was an expiration.

inspired me. it is a labor of love. whatever happens to it in terms of sales doesn't matter. obviously i would love for people to love it and would love for it to be a success -- i'm not going to pretend -- but i have made this music because it has been a joy. when people look back on me, that will be part of it. >> "nostalgia" is out. it is in vinyl as well. it will be released on cd and digital format. thank you for joining us. see you next time. ♪ ♪ georgia, georgia

♪ just an old sweet song, keeps georgia on my mind ♪ ♪ georgia, georgia ♪

>> he has built some of the world's biggest pop stars, justin bieber, ariana grande, korean sensation psy, and "call me maybe's" carly rae jepsen. it started when scooter braun stumbled across a youtube video of a kid in a canadian talent show. that kid was justin bieber. braun is the manager who catapulted him to superstardom. but as the music industry goes through dramatic transformations, braun is reinventing his own empire, producing movies and tv shows,