>> from our studios in new york city, this is charlie rose. beenie: brian de palma has lighting up screens with films, held as a master of horror and cinematic voyeurism. his filmography includes the untouchables. here is the trailer for de pla alma. >> you are being criticized against the fashion of the day. the fashion changes and everybody forgets about that.

we have a lot of ee goes in the room and you have to watch how they interact. in thehave a lot of egos room and you have to watch how they interact. charlie: you see all of that. you are in this documentary. your films are front and center. we saw a sampling of that. you said that being a director is like being a watcher. what you mean? >> you watch behind the camera. -- what do you mean? >> you watch behind the camera, what the actors are doing, the view shot. we see what the audience is seeing. it is unique to cinema and it is a building block i use. charlie: how did you learn this?

>> hitchcock used a lot of point of view shots. walking up to is the bates mansion. you see the mansion getting closer. she goes up a few more steps and she is at the foot of the mansion and we are thinking, "i don't want to go in that house." palma filmst do de share? his moviesome across and do not know it is him, if you knew his movies, you could guess it is him. we can talk about the techniques. there is something about his personality. it is strong. his visual sense is so personal

undeniable. he loves following shots and tracking shots. he does lots of things in one. he does split screen. he does all of this. ays personality is in the w the movies look and feel. >> we would have these long he speaks to us and it would be quite compelling. say, i cannotou wait? >> he does not mince words. so, we worked up the courage. he was on board right away and we put it together. we shot it for one week.

a full week. charlie: one week. >> what made you want to do this? >> he is a view to movies, as a medium. he is one of the first strong director's vision that i was aware of and i associate movies through the way he sees them. it is something you cannot shake. it is like a sense memory. to actually be friends with them, it has been over 20 years. charlie: you mentioned hitchcock. it was vertigo that made it for you. >> it is a director's wet dream.

an image of ang woman that you make the audience fall in love with and then you chilkill her. that you characters want to watch. many times, they are beautiful women. charlie: what is it that you admire about what he does? >> i was interested in b-movies and horror movies. he brought me into real movies, through the way that he makes them. re and hists of gener points of view, it is unusual and there are not a lot of people doing it. to make a personal film inside s the hallmark,

other than the erotic thriller. >> what he does is "of cinema." there is no -- the hit i get off i lovemovies, i mean, movies. you look at his movies and how could you not love it? you feel his enthusiasm and investment. he talks about his visual approach and his idea. he constructs the entire movie out of this idea. charlie: i'm interested in what makes a great movie. carrie,ake a movie like it is a great writer. it is the first novel. you have these actors that no one has ever seen before, except

for piper. george lucas and i were casting all the young actors in hollywood at the same time. we saw everybody. i could not get my movie financed. i was waiting around and had time to lay out the entire sequence of the movie. we had a lot of time to work with these actors that no one had ever seen. charlie: this is a scene from carrie. [indiscernible] ♪ >> open these doors! [screaming]

[ominous music] ♪ [screaming] charlie: did you say, "i do not watch scary films?" >> i would rather be the puppet master than a puppet. i like constructing. you know when things are coming. you don't like to be scared. i don't like roller coasters. do you? charlie: i love them. >> not me. i don't like being caught off

guard. charlie: my instinct about you is that you would want to be caught off guard and would want to create something that you do not quite understand. >> no. i want to lay it out and pull it out at the right moment. e i doot like movies wher not know where the scares are coming. the key is, you just have to do this. they to you with the soundtrack. if you go like this, you will not be scared. it gets very quiet. everybody jumps, no matter what you are doing. if you go like this, you will not be scared. charlie: what is your favorite scene in all the movies you have made?

>> the prom scene and the madness that begins. the staircase sequence in the in touch of balls -- the untouchables. [gunshot]

charlie: what's your favorite film? >> it changes. a change doing this -- it chang ed doing this. i love carrie and blowout. scarface. way, which weo's

talk about how it underperformed at the box office. at the berlin film festival, he said, he looked at it and said, i cannot make a better movie. that is my experience. it is like a filmmaker harnessing everything in his know, and doing it, you at its best. it is kind of remarkable. charlie: what did you want to accomplish? did you see the world the way that brian sees it? >> the biggest thing is sharing the friendship. it is a unique view into brian. he does not talk a lot about

this. >> absolutely. so many offers, i refuse. >> this started as a way of archiving the special relationship and the things that he tells us. hen you start filming brian, knows what his job is. like a great actor or something, he knows how to make it funny. this is the stuff that movies are made of. charlie: what is it like being the director? >> the shooting is just like the conversations we would have with him at dinner or coffee. overintuitive senses take in selection. -- take over in selection. you wanted to be a certain length, have a pace, and it has to keep going without breaking the spell. all of those rules seem to

apply. charlie: going back to what you you are is like documenting something for your pleasure. you decided that it has a wider purpose. feeling, from just our casual conversations, directors get together and talk about movies and we have talked about the shared experience of getting movies and it was sort of specific. we thought that it happened to be brian de palma movies that we grew up with and loved. translatesee if that the front of the camera. charlie: the joy of this film is that it is just you. it is not your cinematographer.

it is not your screenwriter. >> none of my friends telling me how great i am. did,ie: the first one you did you see greatness? .> i saw a talented actor i have a history with bob. bob is shy. he is very shy. he has a rapport with me. i have known him since he was a kid and we are very matter of fact with each other and the interesting thing that i discovered with the untouchables was that, i would look at the film, and ithe would think he was not doing enough. i would ask him to do a little more here. he would say, believe me, just

trust me. what i discovered was that he was doing things that were subtle and they were only revealed on a big screen. that was a lesson i learned. the fact that you need this screen to see what he is doing. you cannot see it here will stop when you put it on a screen, now i see what he is doing and it was subtle. very subtle. charlie: give me an example. >> i am trying to think of a scene. one -- probably shot, where i come down close to him in the barber's chair. he is getting shaved and you can see the top of the set. of course, the shot as far away.

he gets close. god knows how many takes it was. i kept thinking, a little bit more. on the big screen, you could see all the things he was doing, which you could not see on the monitor. charlie: you like the split screen. >> in some places. split screen is not good for action. charlie: what is it good for? action.lel it worked great in sisters. jennifer was talking to the cops and try to get back to where the murder was created. meanwhile, they are cleaning up putting the dead person in the couch. so, they are both doing things simultaneously. with writing on the

window from jennifer point of view -- from jennifer's point of view. if follows a guy dying. s the guy dying and putting the body in the couch. charlie: dream sequences? >> i do a lot of dreaming and try to make sense of it. charlie: have you had people interpret your dreams? >> i get a lot of ideas from the dreams. i do not know if it works for any of you. if you are dealing with a problem, when you go to sleep, you will work it out in the dream and you will go, that is it! charlie: does that happen to you ? >> versions of that. i do not put it into my movies.

>> it is very stylized. you can see crazy things. >> a good one. i don't know. there are many good ones. i think there are things he says about directing the crystallize things that all filmmakers go through. he tells it in a specific way. it does go right to the heart of the job. carries about getting financed. this comes after he got fired from "getting to know your rabbit" because he stuck to principles. and he has the opportunity to walk away and decided to compromise. >> to lie.

>> we think that you are compromising and we find out that he is finding a way around it and that story is hilarious in the movie. it is what directors have to go through to do these things. charlie: if you talk to a bunch of directors and say to them, look, there are things i will tell you about how i see making movies. if there is one thing i want you to know about making movies, it is this. be? would "that" y on instincts. do not be talked out of things. there are people who are paid a lot of my to convince you to do things you do not want to. the studios are filled with them.

you are spending a lot of money and they do not know what is going on. charlie: do you think you know what makes them tick? >> no. that isng that he says misunderstood, he talks about the hitchcock technique being a language. detractors say it is derivative. speaking in ae is cinematic language and caring that on. some people have worked in that style and it is what we associate with. visual consistently storytelling approach. charlie: the film we are talking about is in theaters on june 10. back in a moment. stay with us.

charlie: the chef and co-owner is here. they have maintained a four-star rating. his new book is called 32 yolks. of his life iny the south of france and his discovery of passion for food.

here is what friends had to say about him this morning. >> everybody seems to agree that he is great. >> the understands the quality. -- he understands the quality. year. stars year after consistent an excellent. -- and excellent. >> it is respected simplicity. >> he gives me a view of what excellence and commitment looks like. >> unlike me, i have never seen him wish ill on another human being. normal guy who operates at peak capacity. >> i like him, because i'm attracted to silver-haired men. >> he is like all of her twist,

and all of her twist was french, middle-class, and had perfect hair. charlie: he is a friend of mine. i always look forward to being at his table. tell me about the title. yolks. >> it is a challenge for me. i just graduated. i think i am a good cook, graduating with honors from culinary school. a hollandaisemake sauce with 32 yolks. pounds.1.25 it is hot. sk the yolks and,

instead of making a beautiful pitiful.make somethignng it would take me weeks to make the hollandaise. charlie: why did it take so long? how to playto learn with the fire, the temperature of the yolks, a tiny bit of water, you have to whisk for 30 minutes. eu have to make a form of the gg to the size of the pan. it takes a long time. a couple of weeks later, i started to be good. charlie: this is the story of your beginnings in france to

washington, d.c. you work at the watergate. >> 1989. charlie: you are writing about your youth. it was formative and we learn things about you we did not know. i'm taking a plane to america. kid. my life as a young coppola, it was challenging. they divorced. i had an abusive stepfather. i had to deal with that. charlie: that is the hardest to talk about, i assume. >> i am candid. a lot about my abusive stepfather.

i am very candid. i wanted the book to be inspirational. i said, i like to talk about this. i was candid. it did not feel like therapy, let's put it this way. charlie: what did it feel like? >> like i was documenting what happened to me. it could inspire couples elsewhere. for couples, it can be good. i wanted to inspire young people coming into the workforce. who are not necessarily graduating from culinary school, but they want to be very productive. as we all know, you get out of school and you are a beginner.

i wanted to be inspiring for all of those people. priests try to abuse me. that is something i wanted to put in the book because not too many people talk about it but it is powerful when as a young kid, you believe you are making a .riend you make a friend and you realize you were naïve and you were in a difficult position. i want to to talk about all of those things in this book. charlie: there's a difference between the stepfather and the priest. >> the stepfather was abusive emotionally and physical way -- physically. at thewould find peace table. when it was lunch and dinner, my mother would create an experience, appetizer, main course, dessert. and different tablecloths,

different china patterns, flowers. it was something very unique. charlie: what did that tell you about food? >> first of all, food is delicious. charlie: yeah. withing at the table parents and friends and having food on the table, it is conducive to discussion, it brings peace basically. it creates relationships. charlie: you and your mother communicated through food. wases because she challenged, she was a young mother. i was a very difficult child. and full of emotions because i wouldn't show my emotions too much because my parents were divorced. her to put the food and the love in the food and bring it to me was an act of showing love to her son.

i understand that still at a very young age, i understood she was doing that. charlie: when you look back having reviewed all of that and having read what you have written, do you say how did i survive? eric: it is funny say that because at one point, i read the book entirely and everything came out at me like that and i my god, this is intense. i never realized that it was so difficult at a young age and in my teenage years. this is really tough. charlie: finally, your mother took you to a restaurant. what was that? >> it was a small country. about 50,000 people. jack was a celebrated chef of the country, famous for being eccentric and his temper. mr.le will go and say

so-and-so, can i have a table? you and youwho sent say the minister of the economy, he would say get out of my restaurant. other people, he would treat them like kings. there were only 20 seats and he loved me not only to eat in his restaurant but to observe him every afternoon at school. charlie: you would go after school and watch him prepare. eric: i would. we would talk about food. he would explain to me the andies of being in vietnam so on. for me, it was all about the dance in the kitchen and the cooking, the smell. i love to his chocolate mousse and his apple tart. charlie: i think you suggested

his chocolate mousse as being to biting into the motherland. what did you walk away from that experience with? eric: he showed me what a professional kitchen was. learned for myself the craftsmanship, the artistry. i knew at a young age that i would become a chef and i didn't want to become a chef in a bistro, not like it's a bad, but i wanted to do fine dining because of my experience with my mother and what jack was doing. i wanted to be the chef i am today. charlie: you wanted to make the best. air: i wanted to be at the top, make the best. go to culinary school, which was kind of boring because we were learning the basics and

i was already eating some very refined food and i wanted to cook that kind of food but after graduation, i wrote 18 letters .o restaurants in france 18 and france. charlie: each one of them got a letter from you. eric: no one answered. charlie: what was the letter like? like i am eric, i'm 17 years old, i want to come to your place because i am the best. charlie: how many responses did you get? eric: one. theyled on a friday and said we need you on monday. on monday, i had my suitcase and i was in paris working. charlie: what did that do for you?

air: it was a tough experience it was acause -- eric: tough experience for me because i was the youngest in the kitchen, had never been in a big brigade with a lot of cooks, never coat refined cuisine. at the time, the kitchens were kind of violent. there was a lot of physical -- violence like he would get kicked, hit in the shoulder. charlie: the chef didn't like what you had done. eric: which was common practice at the time. most of the kitchens in france. charlie: you never doubted the decision that cooking was the right thing for you. your early interest about your mother and then your stepgrandmother influenced you. eric: my mother was cooking fine food inspired by fine cuisine. my grandmother cooked soul food.

it is the backbone of everything because it is not just pretty food. despite the challenges, i never doubted that i would become the chef i am today. you had an influence. eric: my main mentor. charlie: what did he give you? eric: he taught me record, love for thehe beautiful products and the respect for beauty. i learned so many techniques with him and finally at the end, three years later when i wanted to come to america, he was the one who sent me to washington. charlie: you said he instilled fear in you. eric: yes. he was not a screamer and he was

not physical, he was antiviolence but he was this severe professor. super demanding. for himself and for the team. we were very scared of him because we wanted to please him and he was almost irrational. he would ask us to go really overboard in terms of quality and we would start at 6:00 a.m. and end at 1:00 a.m. and spent so many hours in the kitchen, 20 cooks and we would barely meet his demands. charlie: do look back at that now and say thank you god he did that because it was unique and defining experience? eric: no doubt. without the rigor and the discipline i learned from him, i would not be where i am today because we were young kids and we needed that discipline. we were teenagers. in termsyou talk about

of the restaurant you run today, other thant it is history,he owners, its and the fact that you have brought it forward to the 21st century. many -- it is a landmark in a sense. charlie: anybody who comes to new york and asks what are the top five restaurants, you are at the top of the list. eric: thank you, charlie. charlie: it is true. it depends on the taste and experience of people but you are on the list. eric: we are inspired by what we find in new york come all the different ethnicities, cultures.

, i speak to chefs from china and asia and other parts of the world. charlie: does that change what you do at the restaurant? eric: you evolve, of course. in my stole a french chef who is inspired by different cultures and matt -- and that becomes a way a kind of fusion but it's french food. charlie: how is a french chef different from a spanish chef different from an italian chef? eric: it all defense. -- depends. you are going to be inspired by your surroundings. charlie: you would be different from a cook in lyon. eric: my surrounding, it is the u.n., not the same as the cook

in britain and my cook is very different. charlie: they are inspired by the ocean and the surroundings. eric: it doesn't mean i'm not inspired by it as well because today, we interact in many books. we see the world is becoming one and influences are coming and we are integrating that into our cuisine but that is important to keep your soul, to keep the backbone of what you have created, which for me, is french techniques. charlie: tell me how it's different from italian -- can you define what is different? can you eat the same meal and say this was by a french chef and this was by an italian chef? eric: i think you can. you can because of the balance of the flavors. an italian -- and the spanish

may be similar and the south of france may have similarities to the spanish depending on which side. in italy, it's different from milan to the south in sicily. in milan, they use butter and when you go to the south, it's olive oil. i take the challenge. i can tell you. ♪

eric: if someone gives me something exceptional, i am appreciating so much. and then i want to go back and say when i you going to come to my place, i will show you something i didn't think about. charlie: you haven't said 1.i want to make sure one third of my life was for me, one third for family, and one third for business. eric: i do that. you cannot calculate that in terms of hours but i take time for myself, i really need to have that and it brings balance in my life. then i dedicate time for the family and i dedicate time of course for the restaurant. or some people dedicate too much time with her profession and they are unbalanced and sometimes the

family is unhappy and doesn't support them cap contra kick about it -- and they don't have time to think about it. the company will support you and that helps you to be a better father and then you are happy in your life but it's very important to take the time to think, to reflect on your success and on your mistakes. charlie: you have also suggested the adrenaline in the kitchen is addictive. eric: very addictive. when the service comes, when we serve people, the team is ready to go to battle. fast like we want that pace. then when the night ends, we kind of miss it. of course, we are tired and need to rest, but the day after, we

are looking for it again, waiting for that moment were we really have that adrenaline. athlete, youke an cannot simply go right to sleep. if you have finished a tough day , you come home at 11:00 or 12:00 and you can't just go to sleep. eric: again, that is time for myself. read, i watch your show. [laughter] charlie: you are also a buddhist. does that help? eric: it doesn't help to go to bed. charlie: in terms of peace of mind? eric: for sure. you have a different understanding of life. for me, it has been essential.

charlie: how did it happen? actually happens at the end of this book. i at the airport in choosing a magazine about that. and then i will be interested in buddhism and i will find another ofup with the speech acceptance from the dalai lama that inspired me so much. then i went to his teachings. he was the primary inspiration. i went to his teachings in new york. , it'spart of my lifestyle part of my spirituality, and i apply what i learn in a very secular way to people around me and to the family of course.

it gives me peace of mind. inbrings tremendous pleasure helping people to find happiness anythingght stress or that is contrary to them. charlie: this book is dedicated to adrian, andre, sondra, and my mother monique. eric: adrian is my son, andre is my father, sondra is my wife. charlie: you're how old when he died? was 10. heart attack hiking in the mountains. charlie: in the mountains. he went to take a picture and he collapsed. charlie: television.

on -- already been on. you're going to do a new season? eric: i hope so. charlie: it doesn't get old. air: no. eric: no. i see it as a source of inspiration. i get inspired, come back, and cook something for the viewer and i share my passion. charlie: if you are going to make the argument that you were getting better, how would you make that argument? you are not simply going and doing what you know how to do remarkably well, which earned , butour stars in new york that you are getting better. what would be the argument you would make?

eric: professionally? charlie: as a chef, as a human being consumed by food. eric: i am becoming better and better every year because i communicate wisdom through mistakes and through success, through experience. me andt becomes part of therefore, today, i am better than two years ago. charlie: when i come, i simply say you decide what i should eat. eric: you allow me. charlie: and other people know exactly what they want and they are there because they want that. do you prefer the latter rather than me? eric: i like to choose for you. o.arlie: i do, to make a'm going to combination throughout the meal

not only with one dish. you know, the flavors are going to go up and up. i prefer to choose. charlie: you are different then some in that you have not opened 15 restaurants. why have you chosen not to open london san francisco, in , in paris? happyit doesn't make me to be in planes and trains and go to other places. i enjoy very much the process of being with my team and you can do that if you only have one place or two. my lifestyle and that was mentioning before that i love time for myself and my family and the restaurant. if i was developing, i would not during to have the time the day with the team and the lifestyle.

charlie: what is your passion beyond food? eric: i love reading, i love music, i love skiing. i love to be in nature, hiking. charlie: you love the politics around you. eric: very much so. charlie: there is also this. this takes you through leaving for america. will the next book begin with arriving? eric: i'm not sure about that. i think the next book will not be a memoir. i think i'm going to do a book inspired by foods from korea. charlie: why korea? eric: in korea, the temple food is meant to make your body healthy. charlie: buddhist temples? eric: buddhist temples. healthy body, healthy mind helps to have more focus and concentration. the process, they put love

and compassion into the food. a very different exercise and i'm very intrigued and i have been to korea for three years now to learn. charlie: but you are not a vegan. eric: i am not a "step -- i'm not a the game. vegan. there is nothing wrong with being that or a vegetarian. but i am very intrigued by korean food. charlie: i think it's important and it has happened in the last five years, the focus on health, to eat well. howt long last appreciate what you eat is important to how healthy you are and to maintaining your health. therefore, to understand what is in fact unhealthy and

it iss healthy, there -- important for you, the person eating out or eating at home and for the person preparing the food so that option is there, that consciousness is there. a modern lifestyle demands being selective about how much, what, when you eat. eric: yes. let's suppose you have the budget and the choice, do you want to eat eggs that are potentially growing hormones, pesticides? charlie: no. eric: do you want milk with the that is notr meet organic? same thing. it has antibiotics in it and so on. charlie: if i don't want that -- eric: do you want vegetables that are gmo, same things with

pesticides. --you campaign for price unfortunately, it's more expensive. charlie: it cost more to eat well. eric: and to support the farmers. that cultivate the land. it's very important. if i go into the restaurant, you will be there in the kitchen? eric: i will be there. thank you for joining us. we will see you next time. ♪

>> the country is still grappling with a lot of questions. we will explore some of those questions during this hour. earlier today, president obama made a brief statement where he again promised action and pleaded for stricter gun laws. president obama: as far as we can tell, this is an example of the kind of homegrown extremism olive but have been so concerned very longa