>> from our studios in new york, this is charlie rose. >> we begin tonight with global oil. oil prices have plunged to their lowest level in five years. earlier today, crude oil fell

below $65 a barrel. decision last week to not cut output continue to shake market through the weekend. new data also confirmed a slowdown in manufacturing activity in europe and china. yergin is a leading energy scholar and author of the quest. dan, thank you for doing this. what is going on? a what is going on is redefinition of the world oil market, where the most important thing that is happening has been this extraordinary growth in u.s. oil production and output, combined with what you just described, which is a weakening of the world economy, which has become apparent in the last few months. wasof the blue, lydia suddenly putting quadruple the amount on the market. all those things together finally toppled oil from this lofty price of $100 a barrel. >> where is it going?

>> that is a probably $64 trillion question. we are in a whole new price range now. with the amount of supply coming into the market. the ranges could be quite wide as people are estimating. a lot depends on what is happening in the global economy. we are in a different world in terms of oil prices now. that will be evident at the gas pump. >> the on the price they will pay for a gallon of gasoline and what that means to their own budget, which is inconsequential, what are the other cards once as a falling oil prices? economy, it is pretty positive, because it does mean more money in the pockets of motorists, which means more money in the cash registers of retailers. what is strange is that our oil imports have gone way down from the level they used to be at.

we have had unconventional gas revolution in the united, which is reaching every state because of long supply chains. so that has been one of the most positive thing since the 2008 downturn. that is going to be more tempered. to the u.s.boost economy and a boost to the other economies that import a lot of oil. those that export oil, particularly those that do not have an exchange resources, this is a big problem. >> specifically russia. >> yes. state,is not a petrol but it is very dependent upon oil and gas. oil is over 40% of mr. putin's budget. so it is important to the economy. they have built up reserves. remember when he came to power in the 1990's, one of the lessons was, we will not be

brought down by an oil price collapse. so they bought up several hundred billion dollars of reserves. an economy that is dependent upon imports, consumer goods, who -- food. so this is a problem. they have been teetering on recession. they are probably in a recession now if not on the way. >> what does it mean for vladimir putin's future? not have that kind of maneuverability on the economic front that he has had. his basic bargain with people as then, i will deliver you a better economy. he has delivered a better economy. and you will let me run the show. but that bargain -- the popularity has been very high because of what is going on in ukraine. he has benefited in normal sleep. but pressure will mount over the

next year and this economy gets into a weaker position. >> why did opec make the decision? prices are going down, you would think you limit supply and price go back up. but they increase productions. is really an association of nations that have not much in common except they export oil. so you have the iranians clamoring for production cuts. we are used to seeing come out of opec. but the gulf countries, led by saudi arabia, said no way. let's let the market decide. we are not going to be left holding the bag. you will be able to benefit from that. ishink it is a message -- it two other things i is a message to producers saying, we are not willing to give up market share. it also has to do with the politics of the gulf.

iraq, which is increasing which is almost a satellite of iran. they are sort of the shiite oriented people that have taken power in yemen. they do not want to give up market share to iran or iraq. i think those issues were important for them as well. they basically said we will leave it to the market for now. >> what about japan? even is in a recession though it stock market has gone up. >> this is good news for japan in a number of ways. it imports basically all of its natural resources. the price coming down is a boost to its economy, industry, to its balance of payments. nuclear the terrible accident, and as a result of that, they had been importing liquefied natural gas. that price has hinged on the price of oil. the price of oil is going to come down, and the price of

natural gas is going to come down. their electricity cost are coming down. china, which is kind of where you started, it was china 10 years ago getting in on a high growth track that really stimulated this whole blooming in commodity prices and oil. but now the premiere of china recently said we are moving from high to medium-high growth. others medium growth. so you do not have china as the kind of dynamo of commodity prices of oil. they import 60% of their oil. for them to have that come down, that could boost -- although they have a strong domestic oil industry, that would boost their economy. make the cost of shipping goods cheaper. are in termsere we of becoming an oil-producing nation, and what impact that

might have, especially when combined with what is happening in canada. >> the u.s. was once the world's greatest oil exporter. then we became an importer and the largest importer of oil. but we had this change that withy started technological efforts in the 1980's. we did not see the impact until five or six years ago. what is happening is quite extraordinary. it caught opec by surprise. if you remember back to some of yourimes when i was on show earlier, people talking about running out of oil and oil, since 2008, u.s. oil production has increased by 80%, of $4 million barrel a day increase. that is bigger than the output of every opec country except saudi arabia. what is happening is a big deal, and that is why it is redefining the oil market. we are not energy independent.

we still import 27% of our oil. this is a big change. a boost to our economy. , because we are going to export natural gas, he gives us influence in the world and world politics. a lot of people talk about u.s. , but i know that if you are in europe or asia, people see this as a new source of strength in the united states. >> they also see our economy as one of the strongest in the world. even though the levels of gdp growth are different between china and the united states. but when they look at the trends, they tend to think we are in a very good place. demographics are good and lots of other factors. >> right. we are the strongest economy in the world. , china, brazil in

recession. the one economy that is really growing is the united states. we have become the locomotive of the world economy. to the chinese, we are important because we are a big export market for them. >> the prognosis for this continuing, obviously, is dependent on what factors contribute to it. so what is contributing to it and what is the likelihood that there will be donning factors in the future? this unconventional revolution in oil and gas has been one of the biggest benefits to our economy since 2008. but i think mole -- lower oil prices are the proverbial tax cut. it does not have to be approved by congress or the president. it goes in everybody's pocket. be -- willt it will continue to put us in a strong position. >> daniel yergin,

thank you. we will be right back. ♪ >> the national football league is plagued by controversy. charges of team sanction, painkiller abuse, and severe brain injuries resulting from the game's violence. here to discuss this is demaurice smith, head of the players association. >> you met with commissioner roger goodell earlier this week about the whole question of personal conduct. how did the meeting go? >> i think it would be fair to say the players are losing patience. it has been several months as the commissioner said that everything is on the table. at the same time, it has been nearly all my, and they have not

responded to a proposal from the players on how to address the issue in a fair and constructive way. ina meeting where you come hoping that everything is on the table and you get there and find out that virtually nothing is on the table should be frustrating to the players, and it is. >> so what did you do? >> the first question to the owners was, are they prepared to collectively bargain over personal conduct policy and a process to address these issues? they told us they were not. the players heard a little of the arguments of why they do not want to collectively bargain for those issues. and the players left. >> he walked out? >> we did. >> you have been critical of the commissioner on this issue. to say he has lost the confidence of players, it has been mishandled. is it time for a new commissioner? >> i do not know if it is time for a new commissioner.

they do not ask me for my vote. the commissioner is selected by the owners of the football league. it is our job to dispel any myths amongst our players and fans that there is some sort of person out there looking over the good of the national football league. that person is hired by the owners of the put all-league -- football league. but if i were the owners, we have seen a lockout period of the referees. a disaster from a public relations standpoint. over the last two years, we have .ad owners engaged in fraud in new jersey, you had an owner whose company saw several of the vice president lead guilty to criminal actions. owned aone owner who home where a woman overdosed to death. this has not been a good run for us. our players deserve better.

our fans deserve better. i know sponsors were concerned about their brand and associating their brand with the national football league. that has to be a concern for them. we want to keep our players say, but we know we are engaged in a great sport and great business. the last two years have not been run the best to make sure this was the best distance in the world -- business in the world. >> you have criticized the commissioner for the adrian peterson case. he was the star running back convicted of striking his child. wasou think the commission especially tough on mr. peterson because he was not characterized for being tough on ray rice? are in a process where you structure a response on the fly to respond to negative publicity or criticism.

for players and the union, the we live is that space in between some sort of misconduct by a player and what it means about discipline. between those things has to be a space that is transparent and a process that both you and i have confidence in. so when a player engages in misconduct, there needs to be a transparent and fair process that leads to discipline. i would argue if the process is unclear, if it is inconsistent, if the process is one where our players and fans scratch their pressat commissioners' conference and wonder if they are making it up and go along -- >> let me ask you about one more case, and that is great party. he had due process, he was found guilty. the charlotte observer described that he flung a

young woman from bed, tractor by the hair to another room, put his hands around her throat and threatened to kill her. should the union represents someone like that? >> i was a prosecutor in this city for 10 years. i tried more homicide cases, more violent crime cases, then i that anybody in the family of the national football league. i do not tolerate violence for anyone. in the same way that every homicide trial that i prosecuted in this city, that there was a good defense lawyer on the other side, that was their job, that was our process. do i believe we have to have a process to handle discipline in the national football league? that is as transparent and fair as the criminal justice process? yes. situation, yet the right to appeal to a jury trial. once the league makes a decision about fair process, the players

do not have a problem with a fair process. what they have a problem with is -- take the adrian peterson case. would you feel comfortable if a person calls roger goodell his boss is the person who is going to weigh in and take at his vision about whether the commissioner or anybody who works with him engages in misconduct? >> charles barkley, the basketball player, weighs in on this as he does a lot of things. and he says that you and roger goodell should sit down and agree that striking a woman is on acceptable. first on that anyone is found guilty of that, they ought to be suspended and then banned for life. >> charles is a friend of mine. he is always outspoken. the one thing i think we would all agree on is the issue of due process. what happens, what can both parties decide to do when due process is applied?

>> if you get to process, would you agree that a second offense gets eventful life? >> it would depend on the back of the case, and i would want to know what the acts of those case of those casests were. i think what our fans would want and everyone engaged in this business will want is let's know what the rules are out front. i would love to reach an agreement with roger goodell. but here is the one thing that will not happen in is not a situation where we are supposed t and figure out if there is something we can live with. this is a union that defend its players, that is an ownership that has an interest in the brand of the national football league. ,omewhere in between that space we can reach an agreement about what to do in all of these cases, like we have done with

drug policy, like we have done with on-field discipline and shares of revenue. we have a collective bargaining agreement that is about 500 pages. torture is. gift to me. holiday we have a collective bargaining agreement where we had sat down and we have bought over everything. the result is, we have a business that will do in excess of $10 billion in revenue this year. fans love our game. i do not understand why the national football league is not want to collectively bargain over discipline like everything else area --. teams dea raided several a few weeks ago. suspicionwidespread members are being given very serious painkillers to stay in the game. drugs used for resources. is this going on?

ago, this union sent a memo to all our players about our concerns about the drug. we also raised concerns about a particular doctor in san diego that we had concerns about, because that dr. had not only been found liable for non-practice, but his license was being reviewed by the state of california. we had been at the forefront of this issue for two years. the fact we are now in a place where dea agents are raiding teams on game day is a place where this league should not be. when we raise a concern two years ago that a team doctor is referring our players to a wikipedia page about the drug instead of giving each and every one of our players informed consent about what the drugs are

and what they could do to you, that would be a that place to be. >> there have been some tragic stories. remember thecannot score of the super bowl. the league has started to address the issue of brain injuries. there is a settlement pending. is this a sufficient response of our? >> the response will never be sufficient. i hope roger would agree that we should never be satisfied about where we are. has the league taken some steps in the past two years, mostly at the urging of our union to make changes? yes. we started the fight for neutral sideline concussion experts years ago. the league resisted it until the end. it seems to me that we ultimately always get there, to use your word, belatedly.

of doctors at work on the side of the union that constantly pushes the envelope to keep layers safe -- players safe. i'm happy to say that process is working. do we need to do better? yes. do we need to arrive at a place where we are satisfied? we should never be satisfied with comes to the health and safety of players. >> i grew up on football. essential appeal of the game is violence. love it when the quarterback is set violently. is or anything to be done to reduce the violence while keeping the appeal? every year, when we make changes about changes in the are changes designed to improve health and safety. a lot of the players we grew up close arms.ld use

they could pull players down from the back of their helmet. there were like whips. shots to the head. all that has changed. we have made drastic changes in the amount of contact that our players have during practice. >> what more could be done? list, thed my wish national football league should say if you get hurt playing this game, we will cover all of your injuries that result from injuries in the game. we fight for workers compensation like every player, but last year, the entire new finishedaints team practice, got on a bus, drove to baton rouge, in order to confront a legislature who was hearing a bill sponsored by the owner of the new orleans saints

to cut workers compensation rights. quote theng to president of the united states that said if he had sons, he would have reservations about complaint ball. lebron james, who once was a great football player, said he does not want his son playing football. i know your son is a lacrosse player. if he said he wanted to play football, what would you say? have had a conversation, and i told him, if that's what you want to do, that is fine. we will insist on. we will insist on a coach knowing the right way to coach players to keep them a. knowan athlete need to that you need to take responsibility for your body. cede responsibility to someone else. you have the right to the best medical care in the world. if something happens, we know i will be able to take care of your medical costs. after that it is an individual

decision. i have read about players who would let their sons play football. i have heard it. i think that is a decision every parent is make. . >> thank you so much. we will be back in just a moment. ♪

>> movies have always been connected with time, but never as much as this one directed by richard linklater, filled with the same actors over the course of 12 years. it follows the maturation of a boy in texas from first grade to freshman year at college. to watch this movie is to watch in a true moving way your own life before your eyes. here is the trailer for "boyhood." ♪ >> stop. ♪

>> are you ready to have some fun? ♪ it.o not worry about >> you want the bumpers? ♪ there is a new student joining us today. ♪ >> what do you want to be, mason? what do you want to do? >> joining me now, the man

behind the movie, richard linklater. welcome. >> thank you for having me. >> people are saying this is your crowning achievement. , or you maysaid have said, that this was not just a masterpiece, but a miracle. was it a miracle to be able to do this? >> it maybe borders on a miracle that we got through it. it is an undertaking to demand five years of the cast and hope that it all works out. >> no one knew it would work. >> i think we know why no one has done it before. are controlrs freaks, and you are collaborating with the unknown each are. we want to control the element to tell our stories. this was admitting you could not control everything. it is like life, we have a general plan. but you cannot say what is going to happen. >> it came from being a father? >> a father and a son.

i wanted to make a movie about childhood. my daughter was about seven when i started thinking about this. she was nine when we started filming. but having a kid, you cannot help but relive your childhood. your relationship with your parents changes. my parents made this decision that i'm now, and you appreciate them in a new way. i was looking for a vehicle to tell a story about growing up and parenting. it took me a while to crack the code and come up with this structure to house my ideas. >> your daughter, who plays mason's sister, is 20. >> 21. a senior in college. ler was seven, and she was nine. >> tell me about eller. >> biggest single decision for

this movie, but maybe that i will ever make. movie,u are casting a that is a big enough decision. but you have to jump into the future and say what kind of person are you going to grow up to be? it was not traditional casting. i just sent time with him and try to sense who he was. >> two people become a different person? >> there is nothing we could have done. >> because of factors beyond your capacity. a kid tonnot contract do anything anyway, which is good. it was a long commitment. my hope is that it would be a fun thing for him to do artistically. special thing in his life, all of our lives. he never wavered. he was there every year. part of the biggest joy of the whole process was seeing him come into his own. lorilehter laura lie --

i, too. as they got older, i am working with them in the same way as patricia or even. >> with ethan hawk, you already had collaboration. >> long-term. it is special. it is just artistic. someone who sees the world and has similar energies and enthusiasms. --ove the way even thinks thinks. he brings all of himself to everything. this film required that. we are going to see you going from your 30's to your 40's. so much of the movie is the kid's point of view. it is how you see your parents age. parents isees his

very different from first grade to high school. >> what is the transformation? >> mason? i saw the whole film and the emergence of self. theegs the question, are we same person in first grade as we are when we graduate from high school? how much are we the same? you can break it down to biological. visit nature, nurture? it is a mystery. i do not think anyone will completely figure out how we get to where we are. >> genetic? >> i think we can look at our lives and see that there was one moment that determined, but that was an highside -- in hindsight. but the narrative thrust of the -- ais really a mother's

very passionate woman, doing what she thinks is the best for her kids. >> take a look at this. this the first clip we will show you. this is where ethan tells his kids to talk to him. >> talk to me. samantha, how was your week? i do not know. it was kind of tough. remember that sculpture i was working on? the formunicorn, and broke off, and it is now a zebra. mason, how was your week? kind of tough. joe weisenthal some cigarettes and wanted me to smoke them, but i said no. your questions are hard to answer. >> what is so hard to answer about what sculpture are you making? i didn't know you were interested in abstract art. >> i am not.

they make us do it. >> why is it all on us? how was your week? do you have a girlfriend? what have you been up to? >> i see your point. it should just be more natural. ok. that is what we will do, starting now. >> you were saying about that scene? funny to see of all their willing himself consciously to be as good a father as he can be. it is a portrait of bumbling through that. i do not think anyone knows what they're doing. you're just doing your best. sense they really do love their kids and want to be connected to them. ethan inve described this as your news. >> well, this film was very personal. it was about my own parents and my own life.

it became an important portrait for all of us. >> you never considered using different actors for different ages? >> i think you can only do that if there is a big enough age gap. for years, three years, it is too close. i had kind of given up on this idea until i got the idea to film a little bit every year. i do not think you can get away with that. >> you have said this is about motherhood as much as it is about boyhood. patricia arquette becomes crucial. >> i admire her so much as an actress. she gives everything. i met her once, and she was a mom when she was young, around 20. i cannot imagine doing this with a woman who was not a mom. she had to draw on her own history. a big part of this, the

director and the actor get drawn in. this is another clip where you will see her at work. >> goodbye yard, goodbye mailbox. goodbye house. i will never hate mommy for making this move. you -- why don't you get rid of that attitude? we are not taking it in the car. >> such a great line. you wrote all of it? >> it was all scripted. i have a work is strong outline, and i have a script. but i spend a lot of rehearsal-intensive time. is aboutike this, it the believability of these little moments. it is not about getting words right. a lot of that comes out of the

rehearsal process. so we do a lot of rewriting with the actors. >> and reversals? >> very rehearsal intensive. >> did you get that from other directors? >> it is kind of what i need is a filmmaker, to figure out what the scene is trying to say. also figuring out how i'm going to shoot the scene. everyone is different. you have your own personality. a believable performance, i want to spend as much time and talk as much as possible to the actors and create an environment where they can do their best work. >> and collaborate. >> i want them to own their characters. i let patricia and ethan named their characters. it is a big decision. so we actually thought about it. >> who has influenced you? in terms of the filmmaker you have become. >> that is one of those big mysterious questions. i think there are different categories. there are films and filmmakers

out make you want to make films, but those are not the kind of filmmakers -- i remember when i was starting out, you realize you start making films that are kind of like this. you are in touch with the stories you want to tell. thee is a big gap between ones that made me love film and the ones that are closer to the kinds of films i do, i think. there is a big spectrum there. >> -- >> but i love all films. >> it is an ensemble situation. >> i was at the museum of modern art, and they were doing a roger altman retrospective. the greatest when it comes to an ensemble. such a unique style of storytelling. i think he is very influential. >> a lot of people have taken notice of the emotional scenes.

>> a couple of scenes. there is one with the mom where he leaves for college, and that is a gutwrenching scene that was inevitable. was in the outline, but we could not have shot it at year one. we had to live through all these years where they get to this place where they are saying goodbye. for college,aving my mom was very quiet, sitting alone at a table. so that was the image in the movie. i needed more dialogue. i needed to make a literal. so for the year preceding it. i would ask what it was like when they went off to college. and ethan's mom, there were a couple lines that she had said that found their way in their. one of my producers had taken her daughter to college, and i put some of those lines in there. but it ends up kind of an emotional purge on patricia's

part. you see the gap between mother and son. she can totally relate to him. but parenting is often a one-way emotional street. >> the entire movie is on film? >> we are one of a dying breed. when we started in 2002, the high-definition mediums were changing a lot. i thought film would be a stable gauge. but we got the goodies of digital. so i was able to do things in post. you can correct things. >> how long did you take with the first scene? well, it was the first year, but i got to look at it for 12 years in the editing room. there were still things i was editing from your 1, 11 years later. such a fascinating process.

>> all the rethinking of your movie. >> it is kind of like a time sculpture. it almost did not feel like a movie. ? >> can you imagine doing this again? >> i do not think it would be 12 years again, but storytelling, i am always looking -- i am obsessed with cinema narrative and what stories can be told in this medium that can and cannot be told in other mediums, how to use cinema to tell another kind of story. maybe something similar. certainly. i think this opens the gate in a certain way to my own thinking. again, it is wildly impractical. >> if you had to do it over again, would you do it? >> absolutely. it was a wonderful project. for everyone who worked on it,

the cast and crew, the 400 people who worked on it all these years, you could see the momentum built. people say, people will lose interest. it went the other way. they felt more invested at times when by. when we were shooting the last shot of the movie, the emotions of the crew and the cast, i will never experiencing -- experience anything like it again. the last scene in the movie is the last thing we shot, and the sun was going down, overlooking the rio grande. it was incredible. 12 years on a project. it was one of those the life things. but the movie built to that. just beautiful. poetic. kind of what the movie was attempting to do, magnify these little moments. to make them worthy of inclusion in a movie. the movie ends up a movie about that. >> you live in austin.

>> yes. >> not austin, north carolina. austin, texas. which is a cultural center in its own way. can you make a case that, whatever it is that makes you want to in austin rather than los angeles is what makes you make the film that you do? >> i wonder. i do not think it is so much geography as how your mind. >> a difference in culture though, isn't it? >> maybe. i like to be in a place -- they have called our industry a great dream industry. if you get too close to the industry, parts of l.a. and anywhere near the studios, it kinds of -- kind of force dreaming and is more about the business. i prefer to spend my time dreaming about stories. >> what part of you wants to go

out and develop something entirely different than what someone would expect from you, just to say you might not think i have this muscle, but i do? >> i think i have done a lot of different films over the years. now that i have made veterans n status.- mid-vetera you step outside of that, you are kind of honest. but i just wrapped my 19 zone. so i think people have given me a certain latitude. maybe you will do something interesting with that. >> is time fascinating for you? >> time and cinema have always been an obsession, i think. the time element of my films are largely structural devices. when you approach a story, often there are characters, plot

think i have largely dropped conventional notions of plot and replace them with time. whether it is real time or a notion of time. in this film, it is very much about the passage of time. to me, that becomes the story. it often does not make sense on paper, but i always in actually felt that an audience would get it because that is the way our lives unfold. that is the way we process times. moment by moment. intimate, small moments. occasionally, there will be a plot twist. but our lives are really a narrative unfolding. it is really populated with and an overarching story that we are still trying to make sense out of. i think that is where the human storytelling impulse comes from, to try and understand the world and our relations. it is largely fictional.

we were concocting it as we go. plot ine not a lot of our lives. what is the plot twist in your life? it is largely artificial. >> and certainly not plan for most of us. >> you never know. ,> it is the age-old question would you change that? not necessarily, because the fact that it happened brought you to where you are today. if it had been different, you might not be the person you are? >> it takes a brave person to especially in the political or real world where there are repercussions, to admit that you would not change anything. really? you do not regret a war or a shooting? most artists would say, i would not change anything. it is like an unknown parallel world you do not want to get into. >> there is a documentary about you. did you have anything to do with

the? >> no. >> what do you think about it? impossible.d of embarrassing and a little flattering. i do not know. >> if you wanted to make a documentary about something, what would it be? >> i do approach the world like a novelist or documentary filmmaker. i keep files on all these things i will never do. my interests are out there. i have been thinking about a documentary about just the notions of belief, changing minds. the science of it. not really my field. i am a storyteller. my interests kind of get me thinking. >> you are also a baseball player. >> yeah, college baseball. >> and then had an irregular

heartbeat? >> suddenly i couldn't run anymore. >> how tough was that for you? it hit me at a point in my life where i was ready to move on, as much as sports had kind of been up the part of my life, i was always taking of playwriting class. i was kind of an english major type of person. kind of unusual for a lot of .thlete, i think but i was thinking in the outfield, i want more reading time. it was not dramatic. i never looked back. i never thought twice. i just started closing down the library every night and writing plays. -- there isl sorry something tragic about sports when a career ends early. it is kind of sad. you see a lot of grown men who are not sure what to do. >> there are so focused on

making it in the big leagues. >> as long as you're wearing a sports uniform, you are still a boy. i do not care how old you are, you are still kind of a kid. you do not grow up until you quit playing sports? >> probably the reason they want to play sports or the rest of their life. >> it is just fun. >> any of the great classic novels you would like to tackle? >> not really. >> not an american novel? nothing by f scott fitzgerald? in history, periods writers lives i would like to touch on. there's something i like to do about the transcendentalist. thorough, emerson. there might be something there. they do not make good movies. >> why is that? >> i do not know.

some things are just more literary that's what -- should stay there. cs.another genre is biopi you have stephen hawking, alan turing. james brown. >> little moments of someone's life, we are fascinated with big characters in history. to take you back to those times is always fascinating. it is a hard storytelling genre to pull off. you can take a very wonderful life and make a mediocre movie. >> what about the movies you made with ethan, after sunset and four sunrise? what is that about for you? >> it is a depiction of connection between two people over 18 years?

>> was that the idea from the beginning? on personaled experience. like so many of my films, they do not feel like a film. the plot never kicks in. it is about something small, a people leteen two your connection. i want to do a movie about that. you do not make a movie about a feeling. but i think i can. i think the way. i think that is a story. are that way, feelings like that, jealousy, ambition, fear. >> how we relate to each other. of -- that is the essence i want to tell stories about real lives. >> take a look at this, where taylor asked his father about magic in the world. there is no real magic in the world, right? >> what do you mean?

and stuff.ves people just made that up. >> i do not know. vest makes you think that el are more magical than a whale? what if i told you that underneath the ocean, there was that uses sea mammal andr and sings song ends -- was so big that it's heart was the size of a car and you could crawl through its arteries? you would think that is pretty magical, right? >> yeah. second, there is no elves in the world, right? >> technically, no elves. >> boyhood is much talk about.

12 years in the making with the same actors. thank you for joining us. see you next time. ♪

>> i am mark halperin. >> i'm john heilemann. >> with all due respect to bill simmons, we don't know how to censor ourselves. ♪ >> all right. rob portman is out of the game. jed bush scores again. and ashton carter on top of his game. first, the republicans combine their forces and unleashed a resoundingly forceful -- strongly worded letter. the truth is, there is nothing they can do. >> this is a serious breach of our constitution.