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

you have a lot of egos in the 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. when you look t them, and you "being ausly, director is like being a watcher." mean? brian: 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? brian: hitchcock used a lot of point of view shots. the simple one is walking up to 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." charlie: what do de palma films share? >> if you come across his movies and do not know it is him, if you knew his movies, you could guess it is him. just from the way the camera moves. we can talk about the techniques.

there is something about his personality. it is strong. his visual sense is so personal and it is undeniable. he loves long following shots. tracking shots. he does lots of things in one. he does split screen. he does all of this. his personality is in the way the movies look and feel. >> we would have these long dinners and he speaks to us and it would be quite compelling. charlie: did you say, i cannot 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 is it about him that made this?ys so wanting to do first lensesof the we see movies through. 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. person access to that actually be friends with him. and for you, it's been over 20

years. charlie: you mentioned hitchcock. it was vertigo that made it for you. >> it is a director's wet dream. you are creating an image of a woman that you make the audience fall in love with and then you kill her. her.hen you re-create is we create characters that you 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. brian in a way, he brought me into real movies, through the way that he makes them. the elements of genre and his points of view, it is unusual and there are not a lot of people doing it. i do not think there are a lot of people doing it now.

to make it a personal film inside of the genre is the hallmark. other than the erotic thriller. >> what he does is "of cinema." there is no -- the hit i get off of his movies, i mean, i love movies. i feel like to love movies, you look at his movies and how could you not love it? charlie: symphonic. >> at yes. you feel his enthusiasm and investment. he talks about his visual approach into his visual idea. he constructs an entire movie sometimes out of this one idea. charlie: i'm interested in what makes a great movie. like the untouchables, scarface, or carry. >> you take a movie like carrie, it is a great writer. it is the first novel. you have these actors that no one has ever seen before, except

for piper laurie. because 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 a tremendous amount of 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 before. charlie: this is a scene from carrie. [indiscernible] ] rowd murmuring in and thumping to sound] >> is somebody a these doors!

[screaming] [ominous music] ♪ screaming] [screaming] [screaming] charlie: did you once say, "i do not watch scary films"? t >> >> 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: it yes. i love them.

>> at not to me. i do not like being caught off guard. somebody up? charlie: my instinct about you is that you would exactly want to be caught off guard. you would exactly want to create something you do not understand. >> at no. i want to lay it out to end the rabbit out of the hat and let out at the right moment. i do not like movies where i do not know were the scares are coming. the key is, you just have to do this. they usually include you with the soundtrack. so, if you go like this -- you will not scared. so it is totally -- it gets very quiet. very quiet. very quiet. then you go like that and everybody jumps. but if you go like that, you will not be scared. charlie: what is your favorite

scene in all the movies you have made? >> the prom scene and the careful setup of where everybody is in then the madness that begins. the staircase sequence in the in the untouchables. again, you establish where everybody is before the shoot out begins. [gunshots] ♪

[ominous music] ] unshots ♪ charlie: what's your favorite film? >> it changes. it changed doing this. i love "carrie" and "blowout." "scarface."

i think something, i -- "carlito's way," which we talk about how it underperformed at the box office. but then when you watched it at the berlin film festival, he said, it is kind of an emotional moment in the movie, he looked at it and said, i cannot make a better movie thing and this. that is my experience looking at that movie. it is like a filmmaker harnessing everything in his power and doing it, you know, really at its best. it is kind of remarkable as a movie. did you want to accomplish to see the world brian sees through his eyes? >> that is one of the aspects but the biggest thing is sharing our friendship. you know, it is a very unique of

you into somebody like ryan. brian does not talk a lot about the present into has not total a lot about how he works. brian: absolutely. so many offers, i refuse. >> this started as a way of archiving the special relationship and the things that he told us. i think once you start filming brian, he knows what his job is. like a great actor or something, he knows how to make it funny. make it fast. keep the pace up. and suddenly you realize, 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. in and then, your intuitive senses takeover when you are sort of selecting the footage. you wanted to be a certain length, have a pace, and keep it going like a regular movie. withouto keep going

ever breaking the spell as best you can. so all of those same sorts of rules seem to apply. charlie: it is interesting going back to what you already said. it is like you are documenting something for your own pleasure and then decided it has a wider purpose. >> i think the feeling was, from our casual conversations at dinner eng know, directors get together and talk about movies. talked in asort of certain way that was specifically because we all have shared experience of having all made movies. specific in that way and we thought, well, this also happens to be brian de palma, movies we have grown up with into movies we love so let see if that translates an front of a camera. of this the conceit film for the joy of this film,

whatever you choose, is that it is just you. it is not your cinematographer, your screenwriter. brian: it is just my friends telling me how great i am. charlie: the first one you did, did you see greatness? the wedding party. >> i saw a talented actor. i have a long history with bob. so -- bob is very shy. yes. very shy. consequently, he has kind of a rapport with me because i knew him when he was a kid, basically. meta-of-factry with each other and the interesting thing i must say i discovered on "the untouchables" was that, i would be looking at the russia's -- i would be shooting the film looking at it out of the monitor or camera, i thought i was not doing enough and i kept up thinking, can you do a little more here, bob.

you are so laid back. just trust me. and what i discovered was that he was doing things so subtle that they would only be revealed on a big screen. learned.the lesson i no, just the fact that you needed a screen to see what he was doing. you cannot see it from here to hear but when you put it on a 50-foot screen, now i see what he is doing. very subtle you know. very subtle. charlie: can you give me an example of that it comes to mind? brian: i am trying to think which seen it was. the 1 -- it was probably one -- probably that crane shot where i am coming down close to him and he is in is barbers chair and he getting shaved, you know. the crane is really high up and you see the whole top of the set

and you come down into this big close-up and of course, the shot is very far away from him and it gets close. god knows how many takes i did. it was all one shot. and i said, can you give me a little more? but the fact is, on the big screen you can see all of the things he is doing that you could not see on the camera or through the monitor. charlie: let's talk about what you like. you like split screens. bryan: in some places. but what you see here, it is not good for action. charlie: what is a good for? parallel action? bryan: parallel action. great in really "sisters" because jennifer's talking to the cops and trying to get back to where the murder was committed. meanwhile, the others are cleaning up the room and getting the blood away and putting the dead person into the couch. so, they are both going on

simultaneously. lyleit starts with writing, you know, on the window in the scene from jennifer's point of view a hand then it follows jennifer all the way around until she comes all the way into the apartment and it in and the guy dying then bill finley coming in in basically cleaning up and couch. the body in the charlie: it dream sequences? ryan: i like dream sequences because i do a lot of dreaming. and i am trying to make sense of them. charlie: do you really? do you hire people to interpret your dreams? ryan: no. get a lot of ideas from my dreams. if you are dealing with a sleep, and you go to somehow you work it out in your dream and you wake up and say, a hawk! , aha! you say

charlie: do you? >> i do but i do not make movies about it. bryan: it is good because it is very stylized. you can see and do 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. one of them, he does this story financed.ing "carry" this is coming after he had been fired from "getting to know your rabbit" because he stuck to his principles. i do not know why i'm telling this story in front of you but basically he goes back. he has in opportunity to sort of walk away again and he decides to call from acts.

-- he decides to come from eyes. bryan: to lie. >> the way you tell your story as we think you are compromising but you find your way around it. story isink that hilarious, the way he tells it in the movie. but it is also about 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. but if there is one thing i want , you to know about making movies, it is this. what would "that" be? bryan: rely on your instincts. do not be talked out of things. because one of the important things you have to know is there are people are paid a lot of money to convince you to do things you do not want to do.

are filled with them. because you are spending a lot of money and they do not know what is going on in your head will stop charlie: do you think you know what makes them tick? >> no. >> a thing that he says that is misunderstood about brian, is that he talks about the hitchcock technique being a language. you know. i think detractors would say, it is derivative. i think that tv is really speaking in a cinematic language and carrying on that consistently. some people have worked in that hitchcock style in done that movie that we associate with. worked in aas consistently storytelling virtual approach. charlie: the film we are talking about is in theaters on june 10. brian de palma and jake paltrow. back in a moment. stay with us.

♪ charlie: a chef and co-owner is here. they have maintained a four-star rating. his new book is called "32 yolks." from my mothers table to working the line. it tells a story of his life in the south of france and his

discovery of his talent and passion for food. here's what some of his friends and fellow chefs had to say about him on cbs this morning. >> everybody seems to agree that is a great chef. >> he understands the quality of the food and is not afraid to let it be naked. stars year after year after year. >> it is consistent and excellent. >> it is respected simplicity. >> he gives me a view of what excellence and commitment looks like. >> unlike just about every chef i'd know it and unlike me for sure, i have never seen him wish ill on another human being. greg c is just a regular normal guy who happens to be operating at peak capacity. >> have you seen how attractive he is? >> i like him, because i'm attracted to silver-haired men.

>> he is like all of her twist, -- he is kind of like oliver wast if oliver twist french, middle-class, and had perfect hair. charlie: he is a friend of mine. i am pleased to have him back at this table and i always look forward to being at his table. tell me about the title. "early two yolks: from my mothers table to working the line." >> it is a challenge for me. i just graduated. i think i am a good cook, graduating with honors from culinary school. into the chef is frustrated with me because i already cut my finger. ad he asked me to make hollandaise sauce with 32 yolks. that is 1.25 pounds. en masse, it is very heavy. that stuff is so hot. and i am built like a string

being. i try to whisk the yolks and, instead of making a beautiful thing, like the consistency of a cloud. and instead of making something beautiful sauvignon, i make pitiful. it takes me several weeks to master the 32 yolks. the difference between believing i am a real cook and being a good cook. charlie: why did it take so long? >> you have to learn how to play with the fire, the temperature of the yolks, a tiny bit of water, you have to whisk for 30 minutes. to them also five. it is no joke. and then when your arm is tired you have to go to your underarm and do it again. then you have to make the form of the egg in the pan to touch all of the sides of the pan. a couple of weeks later, i was starting to be good at it. it takes a long time. charlie: this is the story of

your beginnings in france to washington, d.c. you work at the watergate. charlie: that was what year? >> 1989. charlie: you are writing about your youth. it was formative and we learn things about you we did not know. >> at yes. from age four. the books. at the gate when i am taking the plane to come to a america. that in between, it is all of my life as a young kid. my parents said, ok in the 1970's. for coppola, it was challenging. st. tropez. it was challenging. they did not survive, they divorced. i was 10-years-old. i had an abusive stepfather. i had to deal with that. charlie: that is the hardest to talk about, i assume. >> i am candid.

obviously, i do not go to a party and start to talk about my abusive stepfather. and bookted the work to be inspirational. i really went into the process and said, i have to talk about those things. and, i was very candid. it did not feel like a therapy, let us put it that way. charlie: it did not feel like therapy? what did it feel like? >> it felt like i was talking about what happened to me. in it would inspire may be some couples who were on the verge of divorcing with children. sometimes divorce is good and sometimes it can be a contest revealed. peopled to inspire young who were coming into the workforce after graduation. culinary school, but any school who think they know a lot and are going to be productive in and then fact, as we all know, when you get out of school you are a beginner.

i wanted to be inspiring for all of this people. so i went to i wanted to be inspiring for all of those people. the 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 friend. you make a friend and you realize you were naive and you were in a difficult position. i want to talk about all of those things in this book. charlie: there's a difference between the stepfather and the priest. eric: the stepfather was abusive verbally and physically. but we would find peace at the 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? eric: first of all, food is delicious. charlie: yeah. eric: being at the table with 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. eric: yes because she was 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. for 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 would like 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? eric: it was a small country. about 50,000 people. jack was a celebrated chef of the country, famous for being eccentric and his temper. people will go and say mr. so-and-so, can i have a table?

he will say who sent you and you 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 stories of being in vietnam and 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 analogous to biting into the

motherland. what did you walk away from that experience with? eric: he showed me what a professional kitchen was. i sort of 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. i had to 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 to restaurants in france. it was only 18 and france. charlie: each one of them got a letter from you. eric: no one answered. charlie: what was the letter like? eric: something 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. i called on a friday and they 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? eric: it was a 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 violence like you 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. charlie: you had an influence. eric: my main mentor. charlie: what did he give you? eric: he taught me record, discipline, the love for the 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.

charlie: you talk about in terms of the restaurant you run today, tell me what it is other than you and the owners, its history, and the fact that you have brought it forward to the 21st century. eric: there are 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, all the different ethnicities, cultures. i travel, 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. i am in my soul a french chef who is inspired by different cultures 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 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 not the same as the cook in britain and my cooking 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 events, we see books. 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 are you going to come to my place, i will show you something i didn't think about. charlie: you haven't said i want to make sure one third of my life 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. some chefs 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 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. it is like we want that fast 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.

charlie: unlike an athlete, you cannot simply go right to sleep. if you have finished a tough day in the kitchen, you come home at 11:00 or 12:00 and you can't just go to sleep. eric: again, that is time for myself. i 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? eric: it 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 group with the speech of 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 is part of my lifestyle, it's 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. it brings tremendous pleasure in helping people to find happiness and to fight stress or anything 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 were how old when he died? eric: i was 10. heart attack hiking in the mountains. charlie: in the mountains. eric: he went to take a picture and he collapsed. charlie: television.

your show has 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 you four stars in new york, but 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. and that becomes part of me and 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. charlie: i do, too. eric: i'm going to make a 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 more in san francisco, in london, in paris? eric: it doesn't make me happy 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. i also love 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 be able to have the time during 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. in the process, they put love and compassion into the food.

it is 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 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. we at long last appreciate how what you eat is important to how healthy you are and to maintaining your health. and therefore, to understand what is in fact unhealthy and what is healthy, it is 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 same thing or meat that is not 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.

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

mark: we begin with a check of your first word news. 5 of the 53 people wounded in sunday's mass shooting in orlando are still in grave condition. the attack left 50 people dead, including the shooter, who was killed in a gun battle with police. investigators are still trying to determine a motive. president obama says the case is being treated as a terrorism investigation. aboutance says it can get 85% of flights on the air despite a strike. one fourth of the pilots have walked out because they now have to work longer hours without more pay. freh