>> m angie lau--i am angie lau. japan has reached an about wartime sex slaves. shinzo abe made a landmark apology to south korea about women coerced into military brothels in world war ii. the message was delivered in seoul. the japanese government will million -- $8.3 ompensation. base salaries

increase by about $73. caps on died. $73 at hyundai. shares are down a 31%. onlines cracking down on lenders by releasing guidelines for peer-to-peer platforms. it is a first for the industry. the banking regular has vowed to cleanse the market. new rules state that the platform should serve as an intermediary. it isomes as pboc says expanding containment of online firms. workers in beijing have been told to cut heating to as low as 14 degrees celsius due to a natural gas shortage, which is resulting in import delays.

this has delayed unloading tankers carrying gas. the highest court in the philippines has temporarily stopped senator grace poe from being disqualified as presidential -- in the presidential race. you have questions regarding her citizenship. she renounced her citizenship in e u.s.n1 to live in th but became a dual citizen. australian equities are the only bright spot in what is seemingly a selloff day-to-day. ok, we will see you in a bit. ♪ works from a studios in new york city, this is charlie rose. you have every honor

the man could have. george lucas: no oscars. ofon't really have a lot awards. i get a lot of little awards. i have two emmys. never an academy award. i've been nominated but never won. i'm too popular. charlie: meaning what? george lucas: they give academy awards the popular films--they don't give academy awards the popular films. charlie: are you proud of the popular films? george lucas: that's ok with me. it's an important part of society. if you make a work of art or a and and nobody sees it,

award does not do you any good. charlie: francis is making movies by one person, him. george lucas: i'm not sure with society at large, it is helping much. that's what i'm going to do now. i will make movies that only i want to see. i have always wanted to do that. i fell into popular films by accident. i always disliked hollywood films and don't want anything to do with them. charlie: but you know how to make them. i guess it was embedded in my dna. it is that particular thing, which is that i'm not sure whether it is a coincidence that people like steven and i, steven spielberg, grew up in the same environment. we liked the movies.

it's whole generation that came of age in the 60's, that grew up on movies. i did not grow up on movies. it was a part of my life. i came up at the beginning of television. the idea of visual storytelling came at the right moment. and what iere, wanted to do, what a lot of people wanted to do, was to make that people liked, that entertain them. that is what we are in the business for. charlie: but you're certainly one of the most innovative film makers ever, in the history of cinema. george lucas: the innovation , like abecause i, like artist, theye an were for thousands of years the scientists, the engineers, the

artists. to a couple of certain works, especially in architecture, you had to figure out how to accomplish it. in florence, for hundreds of years, they could not pay to -- figure out how to put a dome on it. studied it in rome. they used to do it in rome. in the renaissance, it was after the dark ages. nobody knew how to do it anymore. ratchetingnvent the ley so that oxen could pull bricks up that high. charlie: so you have created you were able to do it on your own. george lucas: there's a gap between what is possible and where the vision is.

i have had to fill the gap. you don't invent technology and then figure out what to do with it. up with an artistic problem and invent the technology. any artist will tell you that. art at all levels is technology. people will say monkeys can make paintings, but they can't. doy can scribble, they can what my 2-year-old does. convey you want to emotion to another human being, that is something that only human beings can do. by biting yourit hand. but to do it in a painting, to do it in a play, to do it in the poetry, anything in the arts, you have to be a human

being. talking about the artist, the filmmaker, the innovator, director, the someone who has a fetish with making the world the way he wanted to be. all directors are no different. george lucas: they're all vaguely like emperors. they want to build a society to reflect what they want. the great thing is that you don't have to kill people and spend money. it is good for society. the director can do it with a lot less money and say they want to build a world where people can fly. does indiana jones and star wars say about the world you want to create? george lucas: star wars, more

was created jones with suspicion. indiana jones was for fun, to entertain people. there were messages in there about archaeology and what we believe about myths. the patron creates the propaganda. some of the older propaganda was consistent to all societies to say what did they all believe? what are the things that they all actually believe? we are talking about relationships with your father, your society, your history, with the gods. this stuff is old, but

their psychological motifs, created through storytelling. storytelling.l i want to go back and find the psychological motifs that underline that. they grow out of popular is him. to say that not all, but a of people have a certain psychological with their fathers, that has been going on for history, and trying to explain that by saying "we know your darkest secret, and you are part of us because we all do the same things, we know what you think about your mother, your brother, your father, really." those of the things that make people say, "hey, this is why we believe this stuff."

the crudest part of that, in religious,e spiritual thing, some people , youtaken those ideas store them, and you end up in a cult. tools.e psychological it is the same thing. and inthrough history, most cases, you have open societies. you go outside the wall. they were so fulfilling, isolated human events. ask because you have worn all these hats,-- charlie: because you have worn all these hats, creator, director, what do you want your obituary to say?

george lucas: i tried. [laughter] do you consider any of those things first? writer, film maker, problem solver? george lucas: i think of myself first as a dad. i gave up being a director to be a dad. i ran a company. charlie: because he wanted to be a dad. george lucas: it's one of those things where you don't expect it to happen. it was like a bolt of lightning struck me. i ended up getting divorced. i decided, well, i will take care of my daughter. it was right after the return of

the jedi. i'm not going to escape star , my central concern is my daughter. i adopted another daughter, another son did -- son. latern't until 15 years that i said i would go back and direct movies again. the meantime, i had developed a lot of technology to do things. star wars is a science fiction film. it pushes the limits of the medium. science fiction, fantasy, those things, many things cannot be done. they just cannot. there's an equation, ultimately, which is how popular is

something versus how much it costs. people subtract one from the other to decide whether they will do it. a lot of films, they did not have room for spectacular, only .or street movies that's what i've been doing before it. to do something that was an epic, historical piece, but a younce fiction, fantasy, couldn't do it, because accosted too much. you're a kennedy sent honoree. what does it mean to you? george lucas: i can be glib. charlie: just be real. i'm sitting here with a guy who is the happiest he has probably ever been, married with a two-year-old daughter. sitting in a remarkable

place. there is a saying that you are america's finest artist. -- they are saying that you are america's finest artist. what does it mean to you to sit at the kennedy center? don't be glib, the real. be real. george lucas: i will be real. i'm not into awards. it does not mean much to me. i know a lot of people got together and said they were going to give me an award. a lot of it is just basically, well, you're there for eyeballs. well, there are awards, but then there are awards. i have to believe it mean something. -- means something.

what is it? george lucas: while i've got -well, i've got other awards. i know it's about the tv show, not me. charlie: this is not a tv show. it doesn't do very well. it shows in the middle of december. this is not the oscars. this is in washington, where all of washington turns out. it only selects five people per year, not based on what you did that year. up in aputting you pantheon of people that you really admire. , francis, yourg gave each other awards all-t the

time. george lucas: i hate to say this. sands ofe thou award shows every year. i will take the ones that are meaningful, like the kennedy center. charlie: is there a competition between you and steven? george lucas: sure. charlie: what is it? george lucas: who can do the better work. in terms of -- it is the "oh wow" factor. i don't resent how many times, i just enjoy the fact that i can a movie and he can one up me and , "that is unbelievable."

american graffiti is one of the best films "ever made" according to him. george lucas: that's easy to say. charlie: why did it go well? george lucas: it was exuberant and had a lot of underpinnings of the kinds of things that a filmmaker wants to have in their movie. a lot of observations. philosophical musings. it was in the guise of entertainment. most people pay attention to that stuff. critics have a tendency to be extremely glib. they look at a movie a day or two with a and rattle off in an hour with their feelings are. -as a result, you get ideology.

charlie: i'm asking you though, as a film maker, not the critics. george lucas: well i know how to make movies. i studied it. i practiced. i know what i'm doing. , but on filmmakers try the technical side of telling a story and putting it together and how you make it effective emotionally, i know how to do that. is a talent, part of it is i know how to create and figure out how to do it. i'm reasonably effective. i've made a lot of movies. i've produced more movies that were failures and successes. as a director, most of my films have been successes except for one. most of them have not been. i know that going in.

i know what will work and what will not work. i like movies. i love movies. i know a lot of movies are not popular. in the system that was created for ourselves. money.not lose , i mean, you are forced to make a particular kind of movie. i say this all the time. theback when russia was ussr, they would ask me, are you so glad that you're in america? i would tell the russian film makers have more freedom than i have. only have to do is be careful what they say about the government. maintain a very narrow

line of commercialism. when i started in the 70's, it was like this. i flaunted the system. thx, my first film, is definitely not an american film. i shoved it in sideways. they would never let me make that movie if they knew what i was doing. ♪

♪ could george lucas b george lucas because early on, he had the rights to make star wars? that made you very rich, and maybe very independent.

could make movies because you were independent, and you had also built a great business in addition to making films. you can preach to anybody you want to preach to come in because you are not dependent on anyone. the issue is the reality of it, which is that i'm -- i'm aue blend unique blend of a practical person with a fantasy side, daydreaming guy who is not practical at all. so you combined to those? george lucas: the dna was at work there. charlie: whoever created george lucas gave him those two skills. george lucas: yes, and they are opposites. i have always been that way. francis and i, we started so aue-- zootrope, he was

hollywood director. i was a crazy kid doing art films. never going to kno into theatrical films. i would make documentaries. my ambition was to be michael moore, essentially. charlie: a documentary film maker? george lucas: yeah, and to cause trouble. i was a 60's kind of guy, i always have been. i grew up in san francisco, in the bay area. that was just my environment that i grew up in. i was happy to do it. i did not want to make theatrical films. i was winning awards.

francis and i moved to san francisco, because neither of us like hollywood. and i got the company to take a student film and make it a feature. it was just a visual storytelling, a tone film. the characters and plot were not as important as the metaphor and symbolism. and the emotional connection between the moving audience, that probably bankrupted it, destroying everything. it caused him to be forced to pay off the debts, making he made the godfather. he challenged me, as he went out thingsr, to start doing that weren't artsy farsi.

artsy-fartsy. comedy!" i thought, i'm 23, i can do anything. i-30, that is beaten out of you. when you're young, you think you can do everything. that started me on the holder train.- whole new when i did star wars, i did not think it would be a hit. the studio hated the films so much, they shilled it. they said they would not release it. "maybe it will be a movie of the week, but not in theaters." that's where i was. i started working on star wars, and i was just doing it because i needed to eat.

i wanted to do this kind of experimental, in my mind, idea about mythology. i want to make these things into a very popular genre. out of that came both indiana jones and star wars. but, i thought that was my last movie. then, i would go back to doing what i wanted to do. i said, "at least, at the end, i will have done an old-fashioned movie on soundstages with makeup ."ople and the sets i could make one of those movies before i was kicked out. the fluke of american

graffiti becoming a hit was like, "oh my god, now what?" so i made this movie, which probably wouldn't be a hit. star wars. but it's not really a science fiction film. have giant dogs and spacious. ,escribing it, and people think "oh dear, this guy." [laughter] george lucas: i was further than my friends into the art world. nobody expected me to do a comedy. i will show francis i can do a comedy. george lucas: i will show those guys! when i made star wars, they asked why i was making a children's film. i said i could make more of an

influence on people, and that were things i could say that could influence people, adolescents, 12-year-olds. they want to make their way into the bigger world, and that is where mythology is,. -- where the mythology is. "this is what we are as a society." last time we did that was the westerns. that was the 70's. the westerns and in the 50's. we had no national mythology. i said, i want to try this and see if it works. and, i thought it would be fun, because i like spaceships, adventure, fun, all this stuff. so, i will do it. i figured that would be the last . i will do it, i've done my thing, and then i got in trouble , because the script was too long. i had three scripts instead of one. i want to get them finished.

baby hooked into this tar and couldn't get out. be i'm always going to george "star wars" lucas. thinking about your career, you look back at a "starf work, and you say, wars is my crowning achievement." george lucas: cinematically, i'd say yes. charlie: in what way is it not your crowning achievement? george lucas: i don't know. i have a low opinion of my films. i have always said, well, they didn't turn out the way i thought they would. american graffiti is the most fun movie i ever made in terms of what i created.

the most fun movie to work on was indiana jones. i did not have to direct it. steven. yeah, george lucas: that's the one where everything went right. the other ones, you suffer through and think they are terrible. people and say, oh, they are great. terrible -- they are terrible to me. i concealed scotch tape and rubber bands holding it together. see all the scotch tape and rubber bands holding it together. i was so disappointed about my vision and what it turned out to be. i complained about it a lot. i said it turned out to be 35%

of what i wanted. my vision was beyond what was possible. people then said it was the greatest movie of all time. i thought, hey, maybe it is pretty good. then, part of it was to continue the story. it was just the thing to finish the story. now, i thought to tell the back story, which seems to have gotten lost. it was easier to see the back story of darth vader. charlie: did you intend in the beginning to create free movies three moviested -- when you started? george lucas: yes, i did the first act. but the first act did not really work. i thought, i will have to take the ending of the third film and put it into the first.

you have a lot of stuff on your desk, anything, well, let me put that on that. i thought, i have to make this the best film, because i want this to succeed and work. when i moved onto the other ones, i thought, well, ben kenobi is dead. how do i fix it? what do i do about blowing up star?sdeath that's my ending. it is a process where you are doing things and you maneuver through the imagination. part of it was simply that when i got down to the other movies, i was able to create an environment and a world that was not possible when i started the first. to me, these things were or, in the end, getting unit to do the sword

sword-- yoda to do the fight. charlie: you said famously, "flash gordon was the inspiration and the bible." george lucas: it's not the bible, by a long shot. it was the inspiration. i knew i wanted to make a movie based on those cereals. -- serials. it would not be flash gordon. i was not going to try to get the rights. i realize, after i did not get it, i did not want flash gordon. "i don't want to do that. i want a space opera like flash gordon." if i were making that movie, i would take flash gordon out and take all that stuff, mungo, all about and say, i don't want to do that stuff. what i wanted to do was more on the lines of star wars and less flash gordon.

there's a similarity, but definitely a difference in perspective about how they do it. that's it in the right direction about thinking about how to mix of the new but inspired by it. people go through it and tell me what the inspirations are. they are. writer -- with ur just like whether you are a writer or a politician, you steep yourself into the genre you work in. you know all the various kinds of things, and you can pull the various parts of what you learned, in theory. charlie: where did the idea of the force come from? george lucas: the whole thing again, ideas,

psychological ideas, from social issues, political issues, spiritual issues, and convince them into annsed easy to tell story. the force came from distilling all of the religious beliefs, and spiritual beliefs, going all the world are time and finding similarities and creating an easy to deal with metaphor for what religion is. the point is, in the beginning, when you have people worshiping you call it life force.

that's what it was. it's a life force from more primitive religions. going through all other religions, they have the same thing. is all the same, with a believe in god or don't believe in god. the issue is you either don't believe there is anything else out there, which is hard to live with, or you do. i know something is out there, but i don't have any idea what it is. the human psychological need that has been put together, society. create ♪

charlie: here's what interesting things that here's what's interesting about star wars too. all of these films are very personal. george lucas: people say it is for kids. the idea that it's a fun kid film, all of that stuff was very important to me. i like that sort of thing. i like star wars. i didn't not because i thought i was going to make money, but

because in the end, we finished it, showed it to the board of directors of fox, and they hated , and ahead head of the studio, i had an ally who fought for me. no one thought it would be a hit, especially me. charlie: so the film becomes a blockbuster. george lucas: this is the second time, american graffiti was a very personal film. charlie: this becomes a cultural mainstay. stephen says, "this was the moment at which the entire industry changed." star wars is the moment when the industry changed. george lucas: it change for the good and the bad--changed for the good and the bad. you invent things, well, you don't invent things. but when you bring new things into society, you can either use it for good or for evil. it's like the balance of the

force. when there is something new, people have a tendency to overdo it. they abuse it. there are two things that got abused in star wars. out,star wars came everybody said, oh, it is a silly movie. it's just a bunch of 's and stuff. it is not real. -- it is just a bunch of space stuff. it is not real. i said it was more. so, the spaceships, that part of is terriblyfantasy abused. everybody went out and made horrible's patient movies -- horrible spaceship movies. there's more to it.

you cannot go out and just do spaceships. there'sr part was that the technology involved. "we will just take this new technology, it's great." people just abused it all over the place. they did it with color, they did it with sound. every time there's a new tool, people forget there's a story. you tell the story using tools, not the tools to tell a story. the other thing they got abused, from any in society american point of view is the studios said, well, we can make a lot of money. this is a license to kill. they did it. the only way he really could do that was to not take chances--

the only way you really could do it is to not take chances. remember, star wars came from nowhere. american graffiti came from nowhere. there was nothing like it. now, if you do anything, it is not a sequel, not a tv series. it. won't do that's the downside of star wars. lack of an enormous imagination and fear of creativity on the part of the industry. known,tions are not maybe not silicon valley, but the old institutions are not known for being risktakers. they are risk-averse. movies are not risk-averse. every movie is a big risk. the movie business is exactly like professional gambling. except, you hire the gambler.

with longcrazy kid hair who says, i don't get the sky at all--this guy at all. million, tell100 him to go to the tables and come back with 500 million. studios don't think that way. if you tell him you cannot bet on red, because you do market research that says you don't bet on red. you minimize risk. they hire the kid to take risks, to be creative, stewed things that are never done before, never tested. you have no idea whether it will work or not. of whatthe antithesis the modern corporation is. hollywood is like a big because corporation,

they will just -- not like a big american corporation, because they will just throw money behind anybody. george lucas: but they don't do that. decisions toe ensure this doesn't work. charlie: you were ahead of your time with star wars and american graffiti. have you been ahead of your time since then? george lucas: i have not directed a movie since then. producing? i was ahead of my time with "red tails." an all-black film. charlie: you're the only person they could've gotten it made. george lucas: they would distribute it or make it or advertise it. charlie: racism? george lucas: the market research said no one will watch it. charlie: but the market research may have said no one will watch star wars. time, a lot: over

of these issues that are just dimly aware of have become institutionalized. now they know that what he will do well in france, and denmark, in asia. they do a little analysis, and then they say, we don't like the movie. that has nothing to do with what i say, which is making a movie, something people enjoy. i made money in spite of myself. i didn't care whether was hit or not. i wanted to make a movie as a movie. that is the thing they will not do. it is not in their constitution to do it. i had a producer's duty to come up with this. that's why would never go public. i will not be beholden to anybody. why, even now, when i

sold the company, i was starting to make movies that were more personal and were losing money. i said, i really cannot do this more, because the company will be dragged down. i have 2000 employees. people to think about. the best way to handle it is to sell it and take the money, put , which i bank account call my "yacht." a lot of my friends have yachts. [laughter] george lucas: i will use that money to make movies that i know our experimental, that i have no way of knowing whether they will work or not. i want to see if they work. i don't have to show them to an audience. charlie: when will i see that movie? george lucas: you won't. well, maybe you. [laughter] george lucas: you know they won't make money. red tails not only made no

money, but you can't get anyone to distributed. you can get any advertising money. it loses money no matter what. why go through all that and get bad reviews? crazy people yell and scream. make the movie for yourself and your friends. charlie: that's where you are today? george lucas: yes. i'm doing what i wanted to do when i started. the things i learned, possibly i will pass on to other people. learn from what their peers are doing. you can see how people manipulate film, movie image. they do things that have never been done before. in the movie business, you cannot take a risk. you cannot do something that does not work.

there is no experimenting. what you do is that every day on the set, what you are doing has to be right. if it is not right, and you make the mistake, the film will fail. you usually do not get another job. charlie: is this what you believe today? you know how to make a popular movie, but that is just not what you want to do at this stage? george lucas: yeah. why would i? charlie: you don't need the money. george lucas: i don't need the money. my interests have shifted. i want more mature things. i did a kid thing. it is six films. charlie: why to you call the kids thing?

george lucas: well, it is a kid so. adults like it, it is for everybody. the movies i want to make now are more demanding of the audience. most of the audience will not have anything to do with it, on a subject matter most people don't want to see movies about. but, i do. -- i have made movies for me that i wanted to see. i knew what they were. i know this is one movie and this is one movie. films, where i was able to get other people to put studios really, it is a little bit of a robin hood thing. charlie: let me just talk about the upcoming star wars. "the force awakens."

how do you feel about it? george lucas: well, i made the decision to sell the company. because it decision look at the future and the baby and the fact that i was married and that i want to build a museum. i want to make experience of films. -experimental films-. that the last few films i made cost of the company money. -- costed the company money. charlie: so you're starting to make the next star wars? george lucas: yes. i was working with a writer and it wasn't working out.

i was stepping away a little bit to turn things over to kathy kennedy. was the disney "gee, areiger said, you really thinking about selling it? we are very interested." that started the ball rolling. having the story treatments here, these outlines, we were about -- we were working on the scripts. i sold it. i knew when i sold it. i said, "i have tried to make ."vies where i step away empire, return of the jedi.

i knew i couldn't do that, because i had to stand over the shoulder of the director and whispered not to do this or that to guide it. that was harder than directing it myself. jj abrams is the director, a good friend. director withop his own company. who was a little nervous -- one of the issues was that the first three movies had all kinds of issues. they look at the stories, and they said, "we want to make something for the fans." all i wanted to do was tell a story. it starts here and it goes there. it is about generations and the issues of fathers and runs and grandfathers. it's a family soap opera. we call it , but--

but it's a, soap opera. it's not about spaceships. they wanted to do their own thing. i said, "fine, but i will not --if i just get in there i will cause trouble." i don't have the control anymore, it would muck everything up. i said, ok, i will go my way and let them go their way. it really does come down to a simple rule of life. ,hen you break up with somebody the first rule is no phone calls. the second rule is you don't go by their house. the third is you don't go to their coffee shop. you say, no, gone, history, i am looking forward.

do you have something that is a series of small personal films that you want to do? no more kinds of star wars films for george? george lucas: no. these are little tiny movies that our experience of. -- that are experimental. ta checks and to american graffiti, where you change the way you tell a story american graffiti where you change the way you tell a story. charlie: all of this stuff, within you, and all that you contributed, it is all within you.

you can apply that in any way. that is in the end what you brought. your ideas, your insight, that is what you bought the film. george lucas: at the same time, i am fascinated with the medium. i'm fascinated with the true nature of the medium, which is very different. it is very much a recording medium, not an artform to itself. that's why i call these early films tone poems. this was a whole movement of how do you tell a visual story allout dialogue, without the things that you used to tell use to tell a story. it's very esoteric. somethingtake it into more emotionally powerful than most of the stuff we've done up to this point.

charlie: thank you. ♪

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angie: hyundai workers have reached a tentative weight agreement. the deal would see salaries increase. the automaker is missing its annual sales target since 2008. falling sales and consecutive quarters. shares currently looking like this in south korean trading. extending the losses this hour of 1.6% down. china bank says it plans to issue new shares to buy assets. no further details. it calls as a