♪ our studios in new york city, this is charlie rose. charlie: a recent wave of violence has raised tensions in jerusalem. eight israelis were killed in stabbings over the past month. israeli forces responded by launching a major security operation. 31 palestinians have been killed since the violence began. the white house announced the secretary of state john kerry will be traveling to the region soon. joining us now from washington , a fellow at the brookings institute and a former advisor to the palestinian leadership. here in new york, the u.s. editor of the israeli newspaper.

on pleased to have both of them back on this program. what is going on? guest: there has been an outbreak of violence of any kind that even though israel and the palestinians have a lot history of violence, there is always something new. this is very personal, very scary kind of violence. it has to do with stabbings at a and people who literally have to confront their victims and start hacking away at them. all the while endangering themselves and many of the m winding up seriously wounded or dead. this comes against the backdrop of several issues, the most immediate of which was the unnecessary israeli provocations on the temple mount. and the issue of settlor

vigilantism has sort of excited the palestinians. there is the issue of, isis is all around us. even though it may not have made it does provide inspiration, i think, for teenagers to go and carry out ts of own ask -- ac violence and terror. what everybody mentions is the lack of any progress. i do not think that these these children or teenagers who are carrying out the attacks care if there is a peace process or not. i think they do feel a sense of frustration, even though many of them in jerusalem are living in poverty -- they feel stuck. this is all broken out at once. charlie: the sense of frustration and grievance. what do you think? khaled elgindy: i think that is true. i think there is a great was a bar of -- reservoir of

frustration and anger. we have to look at the circumstances in jerusalem where most of these attacks are happening. we saw similar episodes of violence exactly a year ago. this has sort of become episodic. jerusalem is sort of the one area that has become completely overlooked by the peace process and is essentially a peace process-free zone. it has not been part of any settlement freezes, not been part of any -- the palestinian authority does not operate their. at the same time, it is denied services. jerusalem palestinians have a history of separate and aunt -- separate and unequal treatment. they get less services for the taxes they pay, something like 75% poverty rate. they are not part of israeli society and they are cut off from the west bank.

this has been building for probably the last 15 years, where israel has intensified grip on jerusalem. it has shut down jerusalem institutions. the sense of despair that all palestinians feel is much more intense in jerusalem. charlie: does this have, as some have suggested, the possibility of becoming another intifada? khaled elgindy: that is certainly a possibility. for that to happen, there would need to be a couple things that would need to happen before then. it would have to be sustained over time, and that requires political organization and mobilization, and a certain level of discipline among the various palestinian factions. we just do not see that right now.

the palestinian political scene is very fragmented and in a sort of state of disarray. previous uprisings sustained themselves because the political factions were able to organize and coordinate with each other. that has not happened. as we have seen elsewhere in the region, when you have this mass mobilization that is leaderless and cannot articulate clear political demands, it does not often succeed. charlie: what are the worst fears here? chemi shalev: the worst fear is that there will be an increasing radicalization, perhaps some incident that will set off the entire territory. i think everybody is worried about one of the possible collapse of the palestinian authority.

israel is worried and the americans are worried about the -- arenian authority's worried. the palestinian authority's are not popular and are losing support. couldis a fear that we just send it into a type of direct military occupation or even chaos. i think that the specter of isis is all around us, even people -- israeli arabs, there have been incidents involving them. the large majority of people are aware of what is going on. anybody wants to descend into that can a situation. -- kind of situation. at least from the israeli point

of view, i think the target now is just to get things back under control. i think that despite prime minister netanyahu's talk, he likes to talk loudly and carry a small stick. there is a lot of talk about troops moving in, but i think what they want to do is sort of stamp it out, but not in the violence -- violent since. they won't have enough troops on the ground so no one can move. charlie: more of a short force than in actual aggressive attack. chemi shalev: you have heard of the summit that may develop. americans have been in touch with king abdullah. thing inthe same november of last year when there was trouble in jerusalem. it is a festive ceremony that might allow people to step down. charlie: the question is, or these teenagers controllable, and how many of them are there? how many palestinian teenagers

are there that are willing to undertake this very scary kind of operation? chemi shalev: i do not have the answer to that. charlie: and who are they in terms of family? chemi shalev: there are many types. there have been disaffected, unemployed teenagers. there's a famous case of a 13-year-old boy who abbas had claimed had been executed, and israel today celebrated the fact that he was a life in an israeli hospital. they are very young people, immature. if you look at the people who are conducting attacks, they are well-educated people who have perhaps the least to complain about among the palestinians, and they are also participating. but i think that the core problem is with teenagers between 17 and 20 who have been

the core of this campaign. i do not know how many of them they are. charlie: i hear you saying -- do you believe that these people, the young people who are doing this on the palestinian side, are not in a sense -- it's not about a peace treaty, it is simply about personal grievance? chemi shalev: it might even be, for some of them, a personal grievance. it is the first series of incidents that are mainly based on social media. there is a lot of facebook and blogs and secret places that they go to. it has been called in israel iphone intifada even though it has not been declared as an intifada. they are open and they see what is going on around. and those that take inspiration from isis or other radical groups, they don't need an iphone for that. i do not think the israelis have

recognized a central control yet. they are accusing the palestinian authority of inciting, but there has been no accusation that this is somehow being managed from headquarters anywhere. it is spontaneous, and -- charlie: khaled, what do you think? khaled: we have to put things into perspective. i think the fear of isis is a little bit exaggerated. isis does not have a foothold, not a factor in the very large protests that are happening in jerusalem, in the west bank, and even among palestinian citizens of israel. isis is a very marginal influence in all of this. what this is really about is an israeli occupation that is deepening every day and is

intense in jerusalem because of the sort of special circumstances that abide there. you have this generalized anger, and as we have seen in other protests elsewhere in the region, it is usually the teenagers and folks in their early 20's who are at the forefront of this mass mobilization. part of it is dissatisfaction with their conditions, but it is also dissatisfaction with their political leadership. whether the established political groups in palestine, whether it is hamas in gaza or the pa in the west bank, they are making the point that this is not driven by factions, unlike past uprisings. -- as it was said that

was said, there is no central headquarters. it may emerge at a certain point. but we have to distinguish between a couple different things. there are the stabbings, which are abhorrent, and the other attacks on civilians. but the vast majority of the unrest is the standard palestinian protest of stonethrowing at israeli troops at checkpoints and other places that we have seen in the past. so that is not new. but having said that, i agree that there are some new dimensions to this. obviously, the technology is mobilizing things in a way that we have not seen before. but that is true across the board, the region, and elsewhere in the world. there is another thing that i think is overlooked. that is the israeli side of this. there is a radicalization and

extremism that has taken root in israeli society. it has sort of become normalized. it is no longer just in the margins. we see really horrific types of violence. just this past summer, before the latest crisis erupted, we had this family that was burned to death by israeli settlers in the west bank. if you look at the israeli discourse on social media -- again, social media, these --nds apply on both sides the commentary that you see in the israeli social media arena is quite frightening and bloodcurdling. in some cases, outright calls for murder.

we have seen videos that are making their way around social a palestinian young man who was killed, and various jewish extremists are parading his body with pieces of pig meat cut up on top of him. some really gruesome things. there is real extremism and radicalization, but it is happening on both sides. on the israeli side, it is actually influencing choices and limiting them. charlie: do you agree? chemi shalev: i agree there has been a radicalization on the right-wing side of israeli society, and i agree some of the things you see on social media are horrendous. you and not have seen them 20 or because ago -- either you would not have seen them 20

or 30 years ago, or because we just did not know about them. but there is a vicious circle here. the palestinian violence and the lack of any belief that the palestinians are willing to enter into a peace process on the israeli side, and isis, and the horrendous things we have seen from isis, all of these have radicalized israeli society and has turned the right-wing -- the right-wing part of it has turned it even more violent, and the right-wing has become radical right and the moderate center is gone to the right, and there's a very small left-wing left. the leader of the labour party finds himself supporting the government or calling for tougher measures. even though he still wants to still see a two state solution, but the rhetoric is becoming harsher on both sides. i think abbas has not been

helping and has not been helping in the past few weeks. i think that this incident with the 13-year-old boy that he claimed was that has done him real damage in israeli public opinion. not the part of public opinion that did not want to have anything to do with him in the first place, but the portions of the center that still believe it is a possibility. i do not see where the dosage/-- machina is that is going to come and save us. things go from bad to worse. palestinians become more violent , israelis become more partial. where is the sunshine that is going to break this darkness? charlie: thank you for coming. a pleasure to see you. back in a moment. ♪ ♪

♪ charlie: pablo picasso was the most dominant artist of the 20th century. his groundbreaking work as a painter changed the course of modern art and he was a devoted sculptor throughout his lifetime. a new exhibition in new york's museum of modern art focuses on his work in three dimensions. the kosovo features more than 100 sculptures and spans the years 1902 to 1964.

picasso features more than 100 sculptures and spans the year 1902 to 1964. i am pleased to have our experts at the table. what wonderful titles. [laughter] guest: thank you. guest: we are very proud of them. charlie: you should be. so, why now? everyone is raving about this. picasso attracts a crowd. and the diversity of his work, and the constantly changing work that he did, and this realization that sculpture is such an important part of his work. and it had not been here in how many years? guest: 50. and i think the general fact is that sculpture is less known and less thought about than painting because it is harder to make a

scene. it takes up more space, more trouble to transport, more trouble to arrange in a gallery. therefore, a purse the board, sculpture is -- across the board sculpture is less well-known, but particularly with picasso. charlie: how good was he a t sculpture? guest: as good as he was at everything else. that is one of the revelations of the show. charlie: that is what someone said to me. i had no idea he was as good a sculptor as he was a painter. guest: that's the fun part. charlie: did he sculpt until the end of his life? guest: >> he did not. except for the last decade, a logic is very last works, sheet metal sculptures from 1961 were converted into public monuments.

although he was sitting at home, chicago, new york, jerusalem, water dam, there were 20, 30, 50 foot sculptures arising from his designs. charlie: how do you define his greatness? guest: i don't know. charlie: one thing i have always been impressed by -- i have done lots of television programs of all kinds. all caps of things, portrait chores done everything -- towards -- tours, everything. the thing that impresses me most about his genius is how passionate and obsessive he worked at it. guest: i guess i would say the endless invention, right? in lists, unstoppable. thing noto idea or worth doing something to or thinking about, or remaking. charlie: he would even excuse himself from dinner parties to

go paint. guest: yes. the one exception to that, with sculpture in particular is carving marble. you think about the traditional image of a sculpture like michelangelo patiently working away at carving stone. that picasso had no patience for, it was too slow. charlie: so how did he work? more improvisational late. quick. improvisationally. quickly. he did not date them with the year, but the day he made it. charlie: it is said that his sculpture is characterized primarily by the sheer pleasure of invention and experimentation. anne umland: i think that comes through in the show. you just go from gallery to

gallery, and each time, a new set of materials, a new subject matter, a new way of making. it is just hard to believe that in some cases comes from one artist. there is that much range. charlie: someone writing in the times said that the exhibition raises the question of whether picasso was a better sculptor or painter. we have already touched on that. he was great at each. it's just that so many people know so little about him as a school term. anne umland: an important point was he was trained as a painter. he went to school for years to learn to paint. his father was a painter. he had no schooling in culture, no training whatsoever. when he approached it right from the start, it was as a self-taught artist borrowing materials, using friends' studios and equipment, and he kept that spirit his whole life. there was nothing to unlearn. the freedom which came to him

naturally anyhow, was all the more strong. i think he thought about his sculptures as companions. whereas he sent his paintings to hows, dealers, collectors' homes, he didn't have that with sculpture. affect: did sculpture the design in his painting? anne umland: you can see a constant back-and-forth, a dialogue between the pictorial and sculpture. charlie: a dialogue? anne: yeah, picasso would never want to stay in one category or other, so you see him applying paint to his sculptures from day one. and some of the same subjects and motifs are there in the sculptures. i don't think he ever worked

from his sculptures, like you would for a model, but i think there is certainly an interchange between the two. charlie: how did his sculptures influence others who followed him? >> if you look through this exhibition, even watching visitors in the show, people will be dropping names. different moments -- charlie: they can see the influence? ann: yes. charlie: does his early work have some relationship to greek sculpture? ann: not his early work, that is something he came to later in life. from his very earliest moment when he was painting what we think of as the chapters of the blue period, he was looking at the most famous sculptor of that moment in paris. didn't take about

classicism until a few decades later. charlie: but he studied them? ann: informally. yeah. he owned a lot of african work. that was the biggest impact on his sculpture. charlie: what was the impact echo ann: -- the impact? ann: tremendous admiration. both formulae, in african masks you might have shells and nails and all sorts of other heterogeneous materials that he imitated. but also the idea that sculpture had a magical presence and had some kind of force or power within itself that was virtually animate. that he wanted for his sculptures. charlie: did the sculpture changed during the war? was at a different mood? ann: i think so. during world war ii, he famously chose to stay in occupied paris. he makes some of his most somber in-mood works at that moment. charlie: you can see that in the

paintings too. anne umland: you can, but you can see the sculpture of the death bed for instance. or, at the same time, that's when he made one of his most iconic -- taking the by cycle , therebyhandlebars transforming them into -- charlie: and don't people say that after the war, the sculpture had a more childlike feeling? : yes, that is true. he moved to the south of france after the war, where he remained for the next 30 years of his life. he was down in the sun, on the beach, and you feel that strongly. and he became the father of two little kids. there is a playfulness and a joy in that later work that is him discovering his own childhood again. charlie: let's take a look at

some of these images. describe this. tell me about this. guest: this is a sculpture called "a glass of absinthe" from 1914. it is one of a group of six cast in bronze, but typically picasso undoes everything. as you can see with this one and its five companions, decorated its surface, covered it with paint, added a real absinthe spoon. a found object. even the absinthe spoons on these glasses are different. i suppose the funny thing with picasso is this whole idea of taking a transparent glass, as a subject for sculpture, and not making something opaque or transparent. the context is liquid, but he renders it in solid form.

throughout the career, he loves to play with -- this next one is "paris in 1924." what was that about? spaniard,asso the very much

-- picasso is this whole idea of taking a transparent glass, as a subject for sculpture, and not making something opaque and also the context is liquid but he renders it in solid form. i think throughout his career, he loves to play with how can you make something absolutely the opposite of what you think it should be. charlie: the next is in paris in 1924. there he is one more time returning to the image of the guitar. what was that about? anne: i think here you have a great example of how paintings and sculpture were in many ways back and forth. this guitar hangs on the wall and yet it comes in and out, there is solid and void, there there are straight -- solid and void, there are straight and wrinkled forms in there, there are wires as the strings. it is a playful object done as a serious sculpture. charlie: how many of these

pieces are part of the permanent collection? anne: in the show there are 11. charlie: the next one is woman in the garden. this is from 1929-1930. anne: this was the last of a number of works custom-made as proposals for a graveside marker for his dear friend. picasso received a commission to design a tombstone marker. it is one of the great chapters in 20th century art history in terms of all of the things that were rejected by the committee and including this one. charlie: this was rejected. anne: they all were. that was not a onventional thought of a marker. it is one of the things that he made working in collaboration with julio gonzalez. charlie: does this reflect his admiration for african figures? anne: absolutely. all of the works from this moment have -- they are almost african and african objects themselves. charlie: this is from 1933. the warrior motif. anne: this is one of the works in the moma permanent collection. this was given as a gift he made by his widow after he died. this in the first studio that he actually had first culture, in his chateau in normandy. he bought it at age 50. one of the things we love, you see that eyeball next to that large nose, we x-rayed that underneath it is a tennis ball. he had a tennis court on the property. charlie: the next is vase, woman, in 1948.

>> one of the ways he reinvents his practice after the war, he learns how to make ceramics. he sort of apprentices himself. and of course they began with picasso. he learns how to throw pots, and how to make thrown forms and proceeds to do everything to them that you shouldn't and the owner of the ceramic workshop where he worked was famously said if he had been his real apprentice he would have been fired. charlie: because he lacked what? anne: because he was irreverent. he took a nice vase and squished it to make a body. charlie: what does it say about his depiction of women? >> traditional. that he could make something or a figure out of anything. charlie: the next one is she-goat, this is from 1950. >> a very well-known -- it has been in the moma sculpture garden since 1959. one of the things he said about this very proudly is that she is more real than a real goat. there is an incredible amount of

life-likeness. even though it is a wicker basket for the frame. he loved this and he would keep this in his yard and he had a pet goat he would tether to it in a leash. charlie: the next one is baboon and young and this is from 1951. >> this is a work made when picasso is a father of a young boy named claude. this is one that he pilfered two of his toy cars for and put them

together to make this baboon's head. there are any number of photographs holding his young son to his chest in the way that this baboon, which has been identified as a female baboon in the past, but reads as a self-portrait. charlie: also, another example of his commitment to naturalism isn't it? [laughter] >> a self-portrait, yes. charlie: the next one is a flowering watering can from paris in 1952. >> yes, typically picasso would use a real watering can, so he used these fragments from his pottery experiments and things like real nails. there was a junk heap in between his studio and his home and he would go walking there. charlie: the next one is bull,

this is from cannes in 1958. >> another work from the moma collection. here you see picasso going back to working with wood, something that happened early in the cubist years. these flat forms. what is so great about it in real life is if you look, it has these nail heads. it is so picasso to make something that has a pictorial sparkle to it by using utilitarian things. >> and the branches that you see making the horizontal and diagonal lines are just from a palm tree from his backyard. charlie: and the next slide. >> his last campaign of sculpture was in 1960-61.

he began making works in sheet metal. this is an example of those, just taking in his hands cardboard, folding it, cutting it. charlie: early frank gehry. >> yes. he would give them to his collaborator who made them into sheet-metal works. he would bring them back to picasso and picasso would approve or disapprove and in many cases he would paint them. he made over 120 sheet metal sculptures. charlie: how hard was it to bring the pieces together? >> we relied on the kindness and generosity of a lot of people. charlie: including family, including museums in paris? >> yes, musee picasso in paris was our real partner in this project. over 50 sculptures. charlie: 50 from them. >> out of 141. >> picasso kept his sculptures with him for most of his life and after his death when they settled the estate those works became the core of the collection. charlie: why did he keep them with him until his death?

obviously you could say he loved them. >> one could speculate endlessly. liked living with them. clearly from photographs he arranged them around his space. i do believe they had personalities and were company for him. and there are all sorts of wonderful letters in our archives from alfred to picasso asking him. charlie: the artistic director of moma? >> yes, and he would ask, would he part with sculpture x, y, z and by and large the answer was no, no, and no. charlie: thank you. >> thank you for having us. charlie: it will be there until february. it is something you don't want to miss. an extraordinary thing. it happens every 50 years. [laughter] thank you for joining us. back in a moment. stay with us.

♪

♪ charlie: cary fukunaga is here, he is the director of his first feature film by the screening website netflix.

"beasts of no nation" stars idris elba in the story about a young orphan groomed to become a child soldier. here is the trailer for the film. [video clip] ♪ >> what is this doing thing here? >> what are you doing here? who is responsible for this thing? what are they calling you? i saved your life. i saved your life.

i saved your life. go. all of you, you know how something that stands for you. it has put the weapons of the war back in the hands of you. the young, the powerful. >> i will always protect you. because you are my son. a son always protects the father. >> my men, you will remember me. >> [singing] >> we are family. are you ready to fight? >> yes, sir.

>> victory. >> yes, sir. >> victory. >> yes, sir. ♪ charlie: cary fukunaga also directed the first season of the acclaimed hbo series "true detective" in which he received an emmy. i am pleased to have him at the director at this table for the first time. what is it you want us to understand about child soldiers and "beasts of no nation?" cary: i don't want it to be a didactic film. it is a departure for most watching in their everyday life, transporting them to another part of the world and becoming emotionally connected to a kid who i think but otherwise be a

headline in the news. and there is something indelible about emotional memory and it changes the way we look at the world. charlie: where did you find abraham? cary: he was street-casted. we didn't have a traditional auditions. we tried. people didn't come. we had to find kids who might be interested in acting in a film. abraham was playing football on a pitch. harrison nesbitt, our casting director, approached him and abraham thought he was being scouted for football. he was excited at first. turned out it was only for a movie. charlie: did you know you had to make it into a film, did it affect you that way? it took him many years? cary: almost 10 years. i read the book in 2005. i had already been working on the subject for five years before that.

it has been near and dear to me for 15 years. charlie: why? cary: i studied history and political science in college. it was there when i first learned about the wars in africa and sierra leone. the images that i saw children holding weapons, not only violence that is being inflicted on them but the violence they are inflicting on others was too hard to fathom. charlie: you saw firsthand refugee camps.

cary: i learn more details about the wars. i stayed with a defense at tesh a -- defense attache there and i had access to certain parts of the country. at this part the war was over and there was disarmament. trying to create peace and reconciliation. i got firsthand accounts of that particular war. when i read the novel i felt like it wasn't specific to any one nation. it tries not to go in the context of any country's history. it is more of a human story than a political story. charlie: were you more interested in the children or the militia leaders? cary: sometimes the children become the militia leaders. i think that i am interested in everything about it. how the cycle works. why these wars take place. why these children decide to join forces and leaders, these charismatic military types, what with their lives have been like if they had applied all of their talents to something more productive?

an interment camp. your grandfather was japanese. cary: born on a plantation. charlie: did the influence any of this career in movies and this desire to tell this story? cary: it is funny, growing up i think it drove my grandparents crazy asking them questions about our family history, their lives. i think they felt there was nothing interesting or important about their life. charlie: you convince them otherwise? cary: i don't think i ever convinced them. there was something about the mystery of it that i found intriguing. i don't know where my interest in storytelling really came from. i would spend time with my 80 center storytelling and i would spend the entire day in the multiplex watching every movie. i suppose the travails of my

family have definitely influenced and affected me and also has driven me as well in terms of knowing how much they sacrificed. charlie: are you in the back of your mind thinking about making the defining movie about the interment process and impact? cary: i would love to tell that story. i am not sure we can talk about how the studio system is changing but in the current system i'm not sure how i could get that movie financed on the scale you would need to show these camps and therefore the budget you need to make this movie. algorithmsll the they use, who is going to go see that movie? charlie: you were the director of the first season of "true detective," which i loved. it had an autuer feeling. you had two wonderful actors and you had this sort of experience of the land and it just was -- cary: it was a fun -- charlie: what was it for you? cary: in hindsight it was fun. in the moment, it was a very difficult project. part of that is that i stumbled

into it with this naive idea it would be much quicker to do then -- than it actually was. i don't think i really registered what a 450 page script meant in terms of what it was going to mean from me. endurance and stamina. charlie: then you got great two great actors. cary: and they are in every scene. the whole thing rests on their shoulders. charlie: and then you get to work with idris, a huge powerful presence. as well as actor. what was your connection, why was he the instant choice for this? cary: he was pretty much the only choice. i was still shooting "true detective." one of the producers was talking and waiting for set up to get done. he asked me what i was going to do next, and i said "east's

-- "beasts." he says you should get idris elba to do it. i didn't think we would get it. a tiny budget, someone of his stature. his star was rising. the general public is becoming more aware of him. a lot of people think he is unattainable. i was able to get him on the phone. he signed on the phone call. charlie: in the phone call. cary: in the phone call. i got him on board. charlie: had he read it? cary: he read the script. the world was not beefed up as it was. charlie: you got a good actor. cary: he elevated what i wrote. i sort of made him a more central figure. i think having him just come on board changed the themes of it more and made it more of the father-son dynamic that developed.

charlie: is at the dynamic of the movie? cary: i think so. there are many dynamics taking place. but in that particular one, the patriarch system. charlie: what does he mean, the kid mean to him? the commandant? what does he see? cary: at one point in the story he says, "you remind me of me when i was younger." i don't think he is lying. he believes he sees something. but these children, i remember speaking to a minister of parliament when we were setting up a moving, a commander and lord, and he said without any filtering, as if i was a journalist, child soldiers were his best soldiers.

by far. the most loyal, the most eager to please, the most fearless. i think it is the same thing. he has all these young men and adults he is working with. there are the politics and a movement but the kids just do his bidding. there is a lot of power in that. charlie: do they see such gruesome things that it changes their soul, their psyche? cary: without a doubt. i don't think anyone who sees that violence, they are altered. charlie: that level of violence? cary: i don't know, permanently. from those experiences. in abraham's case that is what it gets to, the heart of the story when he is speaking to the aid worker. sorry, that is a spoiler. but it is what he says to her and what his experience has been so far. how he understands his place in the world and the future is not certain, but he has optimism about it knowing that everything

is done. but he will always carry that shadow. charlie: here's the scene between the commandant and him. [video clip] >> my father and my brother, and my father told me to run into the bush. >> how does the commandant look? >> how does the commandant look? >> what are they calling you? you must say it like you are proud of. one more time. well, that is what i will be calling you.

[grunts] leave this one under my charge. i will be training him to be a war hero. charlie: there you go. you were almost moved there. cary: that was my first day. charlie: what were you remembering? cary: that was one of the first days they worked together. he was having a hard day. we had him walk through the valley. he hates snakes, terrified. his nerves were on edge from that. in that scene, we kept shooting it over and over again. it was an oppressively hot day. you felt like you were in a sauna. you might as well have been on drugs. he got emotional. it was the first time that i saw

this kid can do it. i wasn't certain before that. we were shooting chronologically. charlie: this convinced you. cary: in the edit we just let the camera run on him. eventually, idris is also amazing and we had to cut to him. charlie: what you are doing with netflix, you think this is where they are going? cary: i don't want to pretend i can see the future. i see from the writer-director's perspective, the amazing potential here. i kind of feel like we are back in the 1960's, shaking up the system in terms of hollywood and how movies are made. charlie: why is that? what is it that you have? cary: you have a subscription service getting involved. which means the subscription service is the brand. so the box office, when it comes into cinema is not the most critical factor to remaining in the cinema. so that changes everything. just the facts. charlie: because they have people paying $8.00 a month?

cary: exactly. charlie: thank you for coming. cary: thank you for having me. charlie: see you next time. ♪

♪ announcer: the following is a paid advertisement for time life's video collection. carol: well, hello, i'm carol burnett. and i am here at cbs in los angeles, at studio 33. come on in. [applause] ♪ announcer: from television city in hollywood, it's "the carol burnett show." carol: this is the stage where it all began. we shot all 11 seasons of my