♪ >> from our studios in new york city, this is "charlie rose." charlie: we begin tonight with iran. friday morning, the trump administration announced a new sanctions against iran. this comes in response to the firing of a new test ballistic missile earlier in the week. it sanctions individuals with relations to the missile program. joining me now from washington, david sanger from the "washington times." i am pleased to have them here on this friday afternoon. i begin first with david sanger.

david, why are they doing this? will it be successful and what will it achieve? >> charlie, they are doing this because they want to set a new tone and they want to do so right away. you heard from general flynn, the national security advisor. he issued a statement today in which he said that the old method of watching a missile firing and then gathering the united nations general assembly, or security council together to issue a pronouncement against iran, that those days were over. that that was ineffective. he announced a series of sanctions that quite frankly, looked a lot like the sanctions the obama administration issued a year ago. the difference was that in announcing it, they revealed a little bit more about what they knew about the networks of suppliers that the iranians have for their missile program.

blowing the cover of a number of front companies and signaling to the iranians, we know where you live and you are in a new era now where we can make your life more miserable. the question is, what do they do after this? sanctions are within the 40-yard lines for what we know with how you deal with an adversary like a run. .- like iran do they intercept shipping? do they take more aggressive actions in the gulf? do they step up the pressure in a way the iranians would react? charlie: when you look at all the controversy about the nuclear deal that was signed, all the graphic critics would pn the idea that it does nothing about iranian behavior. here they come, this new administration talking about iranian behavior right away and linking it to the iran deal, but not specifically, by talking about missiles. will it have an impact on the iranians?

or, how will they react. covert zone is's to have contained confrontation with the u..s -- the u.s. the obama administration made them uncomfortable with their engagement and overtures. i think the trump administration is unpredictable for them. but iran has always liked to isw that external pressure not going to modify their behavior. they are not going to give in as a result of pressure. i think what is key about the geopolitical context now is that under obama, the united states managed to assemble a pretty robust international coalition to isolate iran financially, politically, and force iran into a nuclear compromise. i think iran probably senses now with president trump in washington, and a president in

tehran who is thought to be a moderate, they foreign minister who is thought to be reasonable, it is going to be much tougher for washington to assemble this broad, international coalition against iran. especially when you look at the context of the middle east, a region which is unraveling. a lot of the countries around china,ld, especially russia, europe, see iran as a force for stability and a tactical ally against the more nefarious force, which is isis. i think iran probably feels that they have to obviously, watch the first weeks of the trump administration carefully. but what happened when the united states managed to isolate the world against iran, i think

that will be more difficult this time around. charlie: david explained to me about the missiles and what they violated. and if they are doing this missile testing, what is the purpose of doing it? >> the purpose of doing a missile testing is to show "we are still" and for the iranian revolutionary guard corps and others still have built their reputation inside iran by showing opposition to the united states, they are showing that despite the nuclear deal, they are continuing to muscle their way throughout the region. i think the very good question that karim raises is, do the iranians sense that nobody is going to join the united states in standing up to them here? partly because a lot of countries in the region have missiles. a missile violation seems to ofy in the region to be

concern, but concern around the margins. secondly, the iranians feel they did a very good job in watering down the united nations' resolu juston missiles passed days after the nuclear accord. this was negotiated in july of 2015, right after the nuclear accord was sealed by john kerry and his iranian counterpart. he was extremely pleased at that time that the wording would change from "prohibiting missile tests" to merely "calling upon iran to show restraint and to not launch any missiles that carried a nuclear weapon." "thisanian argument is missile is not designed to carry a nuclear weapon." they could be modified to do so in the future. they are arguing there is no united nations security council

basis for any sanctions at all. and just an hour or two ago, the iranians promised they would issue a set of counter sanctions against american individuals and companies. those will not amount to much, but politically in iran, i think this could be significant in helping the hardliners once gain have -- once again have their favorite adversary. rishaad: the national security advisor announced sanctions that the u.s. was putting iran on notice. philip gordon said "by issuing a warning so imprecise in a such a dramatic, public fashion, he is setting the united states up for either an embarrassing retreat or a risky confrontation." are either of those likely? >> i do think that we are in the early stages of an escalation which could culminate into a military conflict, either between the united states and iran, or israel and iran.

i think the issue here is that newargues that any sanctions are a violation of the nuclear deal and they have said on several occasions that if the u.s. violates its end of the d eal, iran will reconstitute its nuclear program. nuclear deal, the and historically, the few instances in which iran has backed down under pressure, it is when it is faced against significant, multilateral pressure. the trump administration, so far, has it shown a limited ability to work well with alli es. is an, it appears it administration that does not really have a coherent foreign-policy vision and it is

coupled with these emotional outbursts on twitter, taunts against the only countries like iran, but also american allies. i do think we could get into a very dangerous escalation. i would also add that israel's threshold for taking military action against iran is lower than america's threshold. whereas the obama administration always exercised restraint over israel and prime minister netanyahu, and prevented them from taking action against iran, trump has so far been very indulgent of prime minister netanyahu. it might be whether the united states decides to take military action against iran down the road, or whether the u.s. would be willing to provide israel a green light to do so. we are certainly not there yet, but i think we do have to seriously think about the risks of such an escalation. charlie: is a clear that they

cannot have the same impact they have had previously? that these sanctions will not, cannot, will not have the same force that the previous sanctions did and therefore, are doomed to failure? >> my view would be if you look at these sanctions, they are pretty narrow. they are against individual companies and individuals. the sanctions that brought iran to the table in the nuclear deal bankingd iran from around the country, from delivering its oil in ports around the world. it had a broad affect on the iranian economy. these sanctions will not. charlie: what is the attitude, and how significant is it in the overall concept of trump foreign policy, the attitude towards iran and islamic, what they call radical islamic terrorism? if they see this clash of civilization coming, is that a principal part of how trump and

his colleagues, the president and his colleagues in the national security arena, see the world shaping up? karim? >> charlie, a could be difficult to talk about a trump doctrine, but we can talk about a steve bannon doctrine. if you look at his writings, his media interviews in the past, he does believe that the threat of is themic radicalism greatest threat the united states currently faces, as communism was during the cold war. i think one of the strategic mistakes they are making is gratuitously alienating people in the muslim world and islamic world and in particular, in iran. as you recall, this executive order that was passed last week, it turned away thousands of iranians who are legitimate visa holders, iranian green card holders. it caused great consternation in

iran. there is a very prominent iranian-american community in the united states that is thriving and they have close ties with people in iran. in the past, the u.s. administration, including the george w. bush administration, they always tried to distinguish between the iranian regime and the iranian people. they were always thought to be the most pro-american, modern population in today's middle east. i think the trump administration is making a strategic mistake by lumping both of the people and the regime of the middle east and the islamic world into one category. i do fear they are actually going to strengthen islamic radicalism, rather than reduce it. charlie: to that point, quickly. the idea is that most of what is conceived to be isil and other

aspects, such as al qaeda, is mostly sunni, rather than shia. the iranian foreign minister spokesman gave this response, saying it is a shame that the u.s. government instead of thanking the iranian nation for their fight against terrorism keeps repeating unfounded claims and adopts unwise policies that are helping terrorist groups. the iranians have said many times how opposed they are to isil and other sunni groups. >> i think you have gotten to two of the contradictions in t he trump foreign policy. number one, while mr. trump talks a lot about terrorism, and most of that, of course, is sunni-based, he tweets and occasionally comments on iran's influence in iraq, and of course, it's role in syria. on the other hand, by talking

about cooperating with the russians in syria, he is implicitly talking about having to cooperate with iran, which is obviously working with the russians pretty closely. there is a second contradiction, and i think it goes back to your earlier question to karim, which didhat in the interviews we with president-elect, or than year,ate trump, in last there was none of the clash of civilizations discussion. there was no talk about the united states battling for influence in the middle east with the iranians, or battling for influence in asia with the chinese. that is bannon. the trump doctrine has been much pull back behind our borders if need be and strike back if anybody strikes at us. nobody has yet sorted out this contradiction in this white house. it is early yet. but we don't know whether the

forces of confrontation represented by mr. bannon, or the forces of, let's calm this down and try to manage it, which we assume to be the argument rex tillerson will make as secretary, that jim mattis as secretary of defense will make, we don't know which will win. charlie: david, i know you have another appointment. thank you for being with us. david: great to be with you, charlie. charlie: karim, one last question for you. when you look at this in terms own strugglein its with the saudi's for influence in the region, does it have any impact on the contest? karim: absolutely. i think what the trump administration is keen on doing is resetting relations with america's traditional allies in saudiddle east, mainly arabia and israel, which means confronting iran and iran's

proxies in the region, whether that is syria, yemen, iraq, lebanon, and elsewhere. so, among the countries in the world which are quite pleased by the trump administration are the gulf arab countries like saudi arabia and the uae. they feel that, whereas under obama, he tried to be evenhanded toward the iran, but the trump administration recognizes who america's real allies in the region are. the chances of really reaching a resolution in a place like syria are made infinitely smaller if you don't have any cooperation forrom iran because iran is the chief backer of bashar al-assad. i don't think it bodes well for regional security to take a more antagonistic posture towards iran. that said, the obama administration tried hard for eight years to have a more corporative relationship with

iran, and that was not tremendously successful either. striking that right balance is very difficult, and ultimately, a lot of these conflicts are conflicts that simply have to be managed and contained and not really resolvable. charlie: karim, think so much for joining us. karim: thank you. charlie: we will be right back. ♪

charlie: james baldwin was one of the most heralded writers of the 20th century. a new documentary examines his legacy. uses his your negro" writings to explore the history of racism in the united states. callsos angeles times" this film, smart, thoughtful, and disturbing. "i am not your negro" was nominated for the academy award of best documentary feature. here is the trailer. >> if any black man in the world says, give me liberty or give me death, the entire white world pauses. but when a black man says the exact same thing, he is judged a criminal and treated like one and everything is done to make an example of him so there will be no more like him. >> the story of the negro in america is the story of america. it is not a pretty story.

♪ >> that is really not the question. it is apathy and ignorance. you don't know what is happening on the other side of the world. >> in america i was free only in battle. never free to rest. >> we need to take action, and he kind of action, by whatever means necessary. they are going to kill us all off. [gunfire] ♪ >> there are days when you wonder what your role is in this country and what your future is in it. because i a pessimist am alive. the quest you have to ask yourself -- the question you have to ask yourself is why it is necessary to have it in the first place.

i am a man. and you are going to find out why. dependsuture that comes on that. charlie: i am pleased to have director raoul peck at the table for the first time. welcome. how did this begin? raoul: it began when i read james baldwin for the first time when i was about 17. it changed my life. suddenly, i had an author through which i could understand where i was, who i was and it gave me an explanation to a lot of things that i was seeing, but could not put a name on them. and since that time, i read all

of baldwin, and he had been a constant presence in my life. 10 years ago, i decided to make this film because i felt that the world around me was changing . somehow we got lazy and after the end of the civil rights avement, you know, we had monument, we have black history month, martin luther king as ifday, -- martin luther king day, as if everything is now perfect. and the new generation started to come out. i felt it was time that the words of james baldwin had to come back on the front line. charlie: have there been no major film about him? there was one film, which was more of the doubt a. i did not want to make a biography film. i wanted to find a way to put the words themselves and to put baldwin himself face to the

audience, that we could be confronted with his words, like many in his generation where when he was the great spokesman that he was at the time. charlie: how to james baldwin become james baldwin? raoul: well, it is a long story, but i think he was a man who always knew how to use his private, most intimate experience and link to his incredible knowledge, self-taught knowledge, and use i t to translate in his writing. veryis why he always rang truthful. charlie: you decided to make a documentary. you got samuel jackson to do the narration. give me a sense of what the film that you felt you had to make. raoul: when i started the research, when i started to come back to all these books i had

read throughout my life, i did not know exactly what film, what the film was going to be. i played around with a narrative approach, and then with a mixed form. really me four years to then come up on those pages about this book that he never wrote with the title "remember this house." and those pages were given to me by james baldwin's younger sister, who was running the estate. in that book, for the filmmaker to discover the notes to a manuscript, and the manuscript for the book was never written, and so it was like a mystery book. and then i got my angle. it means i was going to look throughout baldwin's work, body of work, and find that unwritten book, and that was the whole idea of the film. charlie: find the unwritten book and make it a film. raoul: exactly.

charlie: baldwin said, "not everything that is faced can be changed, but nothing can be changed until it is faced." raoul: absolutely. absolutely. that is something that kindtunately, in no, the of separation that we have in this country is such that each one of us can live through his whole life without having to see the other. you know? if you live in manhattan, you can live your daily life without being confronted with what is happening in the rest of the country. and in particular, those last 30 years, somehow -- charlie: we begin to realize, some parts of the country of the other parts with a very different view. raoul: exactly. exactly. we are confronted with this, true. baldwin tries to confront us with this reality and give us our responsibility back.

because what he means by that is, you know, we are all responsible. wherever we stand in that divide and only we, the people, can change it, if we accept to face it. charlie: he wanted to be an observer, a witness, rather than a participant. raoul: he was both. to be a witness, you have to be where it is happening. he was torn between the sort of peaceful atmosphere that a writ er needs to write nad the incredible activity that you have when you are on the field. he was always torn between those two moments. but he felt he had to be where it was happening in order to report about it. in order to understand what was going on. he went to great lengths to sit

down with those young boys and girls who were going in those schools, spending the whole day alone inside those schools. and he spent time with the white teacher and tried to understand what was going through his head. and he gave us that in the form of a beautiful essay. that is what he knew how to do because he could understand the very core of this country because he went through and he tells you the story through human experience. it's not an intellectual the vice -- intellectual device or discourse. it is always about the human being and emotions. charlie: take a look about this. this is james baldwin talking about the effect of segregation in the united states from the film. james baldwin: the white man has rarely encountered, if ever, had a negro friend or madid in high

school. but they rarely after school was over, came to my kitchen. we were segregated from the schoolhouse door. therefore, he doesn't know. he really does not know what it was like for me to leave my house or school and go back to harlem. he does not know how negroes live. and it comes as a great surprise to the kennedy brothers and everybody else in the country. i'm certain, again, like most white americans i encounter, there is no -- nothing against negros. that's really not the question. the question is really after the ignorance, which is the price we pay for segregation. that is what segregation means. you don't know what is happening on the other side of the world. wayator: i was in some throughout those years, without entirely realizing it, the great black hope of the great white father. i was not a racist, or so i thought. charlie: you are using them

perfect example, you are using him on >> i was not a racist. or so, i thought. charlie: you are using that example, him, in the tape or film, and just his words. you are not using commentary, other people talking about james baldwin. raoul: well, that was the project from the start. i do not want to have any talking heads, as we call it, explaining or interpreting baldwin. i wanted to have baldwin's words, because in this film, only baldwin's words. there is not a single line that i wrote. charlie: and the reason is? raoul: to have that experience with having baldwin raw. i want to the audience to be in front of the words, in front of this man's face, who is so personal, so intimate. i wanted to share this experience that i had throughout my life. charlie: what was the quality

about his voice and writing that made him so penetrating to those who knew him? raoul: i think it was an incredible humanism, because he loved human beings, whether you were black or white. he wanted to have a direct contact with you. he did not ask you about your color first. he wanted to know what you have in your belly or your guts, who are you, so he was always open, in his traveling, abroad. he spent time in france, but he also spent a lot of time in turkey. what african-american would find in turkey, but he had great friends there. charlie: did your experience as a haitian give you a perspective on him? raoul: yes, it did help me, because i left haiti when i was eight. my father went to work in congo, and changing from your birthplace to another country or

even another continent gives you a very different perspective to when you look back home or when you look back to a country like the usa, which i also came, you know, when i was 12, and i went to school here for a year. it gives you the distance that you need, you know, to really see what is important and what is less important, and i have a lot of american friends who actually understood what being an american is once they were a broad, sadly, even somebody like old when, when he went to france, he was not black first. he was first an american, then black. so it gives you, as you said -- also, it takes away a lot of the daily pressure that you can have in your daily confrontation or your, you know, the attention

that you have to have, the carefulness you have to have every minute when you are living between harlem and the village, as he did. charlie: here is another clip in which he is talking about white america and the negro myth. [video clip plays] >> the truth is, this country does not know what to do with the black population, dreaming of anything like the final solution. [birds singing] >> negroes have never been what white americans wanted them to be. that was a myth. we were trying to keep alive. we were trying to survive. a very brutal system. happiness in this

place. ♪ >> one of the most terrible things, whether i like it or not i am an american. , my school really was the streets of new york city. my frame of reference was george washington and john wayne. child, and the nothing, and there is else to use, and you are formed by what you see and the choices you have to make and what you discover it means to be black in new york. [video clip ends] raoul: he was 65. he had cancer, and he died in his house in the south of france. charlie: what would he have said was his primary contribution? raoul: i do not know. i think it is a man that was never satisfied. he was always writing on a lot of different things, you know,

know, screenplays, you novels, essays, short stories. he was a multitasked person. on the same table, there was always a pile on which he was working, and he would leave and come back, and sometimes he would mix two manuscripts and go in a totally different direction. in fact, in my research, because i was looking for a specific phrase, and i could find that same phrase differently in another document, but that was better for the film, for the dialogue of the film, so i would use it, so i learned to see how his constructions were done over a long period of time. and a lot of writers work like that. it is like they always reused a

findf ideas, until they the right place to put it. charlie: who were his close friends in the white literary community? raoul: he knew most of them, people like truman capote, of course, but others, like marlon brando was a great friend. they knew each other when both of them were not famous, and marlon used to visit baldwin and just crash in his bedroom for two days because he wanted to be away from the hollywood circus, so he had great friends, black and white, in the artist, you know, a lot of musicians, and there was, by the way, a great sense of solidarity among black artists, writers, and musicians. they knew each other. he had been a great elder for simone, mayanina angelou. he felt responsibility for them.

even the younger, more radical leadership, people like angela davis. he wrote a beautiful essay in when davis was in prison, and some of the leadership in the black panthers were somehow critical of him, but he kept close to them. like the elder, the older brother that he was, he raised money for them. he visited them in prison, so he had a role, and many other people like harry belafonte, -- they , were very careful and protective of the younger generation. charlie: do you see something of his voice in -- raoul: yes, he is a young writer and very promising, and i think he is -- i would call him a son of baldwin, like toni morrison, as well. toni always say how baldwin was

important for her to become a writer, and baldwin, i think, we don't understand enough how baldwin is one of the greatest american writers of this century , not one of the greatest black american writers, one of the -- at aters because time when nobody else would even dare writing a novel about a mixed gay couple. that was unprecedented. being a black author, as well, that was -- so he opened many, many doors, and he changed the life of many, many young men and women, both white and black, and not only in this country, but elsewhere, and he changed my life, as well. charlie: thank you for being here. raoul: thank you. charlie: "i am not your negro" is nominated for the academy award for best documentary feature. thank you for joining us. see you next time.

♪ [ alarm clock beeping ]

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[ laughter ] i've spent my life planting a size-six, non-slip shoe into that door. on this side, i want my customers to relax and enjoy themselves. but these days it's phones before forks. they want wifi out here. but behind that door, i need a private connection for my business. wifi pro from comcast business. public wifi for your customers. private wifi for your business. strong and secure. good for a door. and a network. comcast business. built for security. built for business. ♪ charlie: harry benson is one of the most acclaimed photographers of his time. he has covered such iconic moments as the beatles' arrival in the united states, the assassination of robert f. kennedy, and the funeral of dr. martin luther king, junior. benson has also photographed every sitting president since

jfk. he has been one of the most sought-after photographers for decades. a new documentary traces his remarkable career. for "harry trailer benson: shoot first." [video clip plays] ♪ >> i love harry benson. i think i am probably about a half a month from being in love with harry benson. >> harry is iconic, taking pictures of a lot of icons. >> i think it is rare that you know in a moment that a moment is going to be legendary. >> there is also harry's range and versatility. harry could do it all. >> he's one of the great photojournalists of all time, and yet people think "beatles." they said i was ugly, and the one thing you could not be around the beatles was ugly. the images of the beatles, the intimacy that harry's has done. >> benson was there with the ultimate subjects who were there

peak of their media centricity. >> they can be celebrities, but they have to be someone he is attracted to. >> nobody is more reclusive than bobby fisher. he allowed harry to photograph him for days. >> take a look at the picture. take a close look. >> oh, my god. >> he puts people at ease, and you can see that in his work. >> some great photographers, i'd like to think just had a camera all the time, and the moment happened, and they got it. with harry, you always know that's true. >> if i don't take a photograph, i've made a terrible mistake. i photograph what i see, and what i see should inform. >> the first shot i saw of the senator lying was harry's shot. >> no matter what your personal feelings may be, you realize that this is something that you have to document. >> you could argue that he's got nothing left to prove. harry still feels every day that there's something to prove. >> i've been debunked already. >> he loves to photograph people who are bigger than life. >> this guy was -- and a green

handkerchief. >> he is the guy everyone else tried to be. >> it's about his pictures, but it is also about him as a person. >> harry has a special sense of compassion for the people who he is photographing. >> he does get the joke about life, and i think he finds that in his subjects so often. >> could they believe it? james brown, doing the splits in your yard. you can talk about that forever. [video clip ends] charlie: i am pleased to have harry benson and the co-director, matthew miele, at the table, both. >> thank you. charlie: so how have you done it? harry: i am old. charlie: if that makes a difference, but look at that, look at that. you have been there. the camera was there. and you captured the image. harry: i would like to go over again and do the same things. charlie: but why you?

why photography? harry: i wasn't good at school. photography was a way out, and if you keep taking a good photograph, you eventually become heavyweight champion of the world. meaning if you work on a newspaper, you know right away that you failed or you won the day. charlie: but is there one secret, one fundamental thing about the way you did it? harry: first in, last out. charlie: really? harry: yes, photograph what you see. and what you see should inform. charlie: what is the answer to that question, "why harry?"? >> i think he knows how to get

into a situation. he knows how to charm people, but underneath that charm is a manipulation that really is alarming and arresting. charlie: to get them to relax? >> absolutely. you know, there are secrets to it as well. he will say he got to the second floor of the white house residence because he was in a suit, and every other photographer, they look like custodians, and he said he was able to ride in, a signature look, a handkerchief. he is a seasoned charmer. charlie: you took my photograph. harry: i did. a few times. matthew: and that is remarkable, because like michael jackson, when everyone took a photograph of him in the 1980's, he wanted to take a picture with harry because he knew he photographed the beatles, so he has this

legacy that follows him. charlie: why did you want to make a film? matt: i wanted to make a film on harry -- actually, he was the subject of another film we were making, "tiffany and company," and he was sitting in front of us, and we were rolling camera, and after about 10 minutes you , realize that this man is not just a photographer, but an iconic photographer, and you look over your shoulder, and there are the beatles having a pillow fight, and you think, forget tiffany. let's talk about harry benson. mazed, and i am really happy that the first ended up in the movie. charlie: this is muhammad ali with the beatles, two of the incredible celebrities -- harry: that is right. after we had been on "the ed sullivan show," and the tv, i

hear this guy shouting and shouting on tv how he was the greatest, and i thought it was a good idea to bring the beatles to meet him. and john lennon said, no. he is going to get beaten by the sonny liston. ,k, i go to see sonny liston and he said he did not want to bums.those so i go back to the beatles, cassius clay. charlie: he had not announced his -- harry: that is right, and he announced this right after the fight, and he had the line down, do this, do that, who is the most beautiful. the door for them. after it was over, the beatles would not talk to me.

john lennon said he made a fool of us. he made us look like monkeys. and it is your fault, benson. he would not talk to me. but i did not care, because the following day, i was going off in jamaica to photograph ian fleming, goldeneye, because the james bond movies, you know, "dr. no" and all of that, and then went back to miami, the beatles had gone, and covered the fight. charlie: sinatra and then-wife mia farrow. harry: yes. charlie: take a look at this. this is that truman capote's famous black and white ball. harry: someone shouted at frank sinatra. that really upset him. charlie: what? harry: "frankie batman." he did not like it. charlie: how many times did you photograph sinatra?

harry: a few times. once you let me on the stage , ih him, he told me after have never let anybody on the stage with me. it was up in san jose someplace. charlie: tell me how you made the film. the film. matthew: over the course of about three years, and we basically look at the photography and the filing cabinets of the negatives, and his wife is basically the curator and caretaker of everything. she really helped to guide us along. thousands of images that we had to comb through. , "alog line of the film is great photograph can never happen again." and those moments, those moments you believe cannot happen again, like this, that will never take place again, it is a glimpse and gone forever, a quote he often : he quotes from robert louis stevenson, and poem he quotes from

robert louis stevenson and , everyone from joe namath do donald trump to carl bernstein. it took about three years to work on this, and what was remarkable was the and willing to talk about someone other than himself, and he has had a great relationship with harry going back 20 years or 30 years. 40 years maybe. he photographed him more than any other photographer and he , said after the interview, "anything for harry." it is a real friendship. i'm thankful he did the film. harry: it is not politics. believe me. charlie: i believe you. but there is also ivanka trump, in her trump tower office. there have been a lot of

pretty ladies around washington. charlie: yes. famous -- is -- : this next one famous for having the reasond that was vanka trump in there. charlie: the next one, look at this. jackie kennedy in a ski mask. wow. harry: i like it because jackie she can't hide. charlie: you can see the picture and know that it is her. the eyes. and the next one is ethel kennedy waving you away from her husband's body. harry: she was screaming. it was one of those things you

could not feel that night because it was so close to dallas, and you had to, this was my job. i was in news photographer. a news photographer. matthew: and it is a testament to harry, because he is continuing to shoot. charlie: ok, i want to get through this. the next is a kkk woman holding a child. where was the shot? harry: that was south carolina. charlie: beaufort, south carolina, yeah. how did you get there? harry: i went there with bobby sheldon, and he took me, and he told me, saying i will be leaving around 9:00, harry. i think you should leave with me, meaning it was not safe. charlie: got you. take a look at the ira. harry: i was on maneuvers with them. it seemed all right, but it was getting tough because it was

getting dark. , farmer way in the distance like started going off and on, and that was obviously, they were telling us there was a british patrol around. charlie: you could see the lights, people signaling. harry: people signaling. we lay in the mud, a british patrol comes past, and afterwards in the safe house, i hear a couple of ira guys talking and they said they were seen us.brits had i didn't want to get into a firefight. charlie: the next one is jfk in paris in 1962. look at the eyes. this is when he went to meet khrushchev. harry: he went on after that to meet in vienna.

charlie: he was sobered by. raining. was i like the idea that jack andedy kept looking at me looking at me until i climbed up on this parapet. it was like, you know, you get a picture, you know? charlie: finally, this, winston churchill in 1960, going back to his alma mater. harry: back there, and there was a new line in the school song which went "and churchill's name through eachlaim new generation," and that was the last time he went back to his old school. charlie: very important. matthew: invaluable, and he constantly says if you marry the right person, she was able to let him go on these assignments.

he lost a lot of family time. the daughters would say harry is off on assignment over holidays or birthdays. something very singular and something he was determined to do. he is not a renaissance man. he is a great photographer who had a 60-year career, and i hope we captured it in the 90 minutes we had, and i thank you for letting me do that. charlie: thank you, matthew. thank you, harry. harry: thank you for letting me show the pictures on your show. maybe another 20 years and i will come on. charlie: thank you for joining us. see you next time. ♪

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