thank you so much for joining us this ev this evening, the cnn film "julia" begins rigight now . ♪

julia childs presents, the chicken sisters! ms. boiler, ms. fryer, ms. roast, ms. stewer, old mother hen, but we're spotlighting this roaster of the year. ♪ i am with this burning desire ♪ ♪ let me stand next to your fire ♪ ♪ hey, yeah, let me stand next to your fire ♪ ♪ listen here, baby ♪ >> get right into that skin, get that lovely flavor that helps it brown nicely. french food is just wonderful.

i haven't been turned on by anything until i really got into french food. ♪ let me stand next to your fire ♪ ♪ let me stand next to your fire ♪ yeah, let me stand, baby ♪ >> you can roast it the old fashion way, in the oven, or you can roast it on the spit. i found that if people are interested in food, if not, i'm not very interested in them. seem to lack something in the way of personality. i want to turn this chicken to brown so whenever you think of roast chicken you think of it this way. ♪ yeah, that's what i'm talking about ♪ ♪ now dig this ♪ >> just love that food. i could eat nothing but that the rest of my life. ♪ you better move over baby ♪

>> s >> she's one of the most distinctive personalities television has presented, ever. julia childs. >> julia was more than a cook. she was a cultural force. she changed america. >> i think julia introduced us to a world of food. she made it look like it was fun. >> today you have rock star chefs. julia was the first, she's madonna, you know, the first that does all that. >> julia was a pop icon. >> julia child? >> you could say julia, and everybody knew it was julia child. >> i didn't start on television until i was in my 50s, just by chance i got on to television, i

seemed to be the right woman at the right time. >> behind me in this unassuming concrete building, filmed with the tools a remarkable industry called television. >> i was a producer/director of wtvh, the public television station, the boston viewing area. i was there in the office when the phone rang. and it was a woman with this kind of a gasping, strange, very distinctive voice and she said, i would like to request a hot plate be provided for mr. duhamel's program that i will appear on tonight. it was the book review program called "i've been reading," she was going to talk about her book, "mastering the art of french cooking" i said i'll pass that along, madam, but i have to

say it's highly unusual. >> this series is presented by wdbh tv pausen. >> few people in those days watched educational television. we had some distinctive members who would explain high energy physics and literature. >> the route of achilles, an introduction to the illiad. >> all readers of the illiad felt the deep contrast between the bleak life of the greeks and warm domestic atmosphere of the scenes inside joy. >> it was some pretty heavy going. so i pointed out to her that we don't really do much in terms of demonstration. she said well i will still need that hot plate. she made a proper omelette in a proper omelette pan that night. and the host was blown away by its lightness and its taste.

you have to understand, those days, no one had an omelette pan in metro boston. if you were to say go out and get some leeks, we wouldn't know where to start, or a garlic press. >> smart mother, plenty of time, when you keep swanson tv brand dinners in the freezer. no more than 25 minutes, serve a meal that rivals real home cooking. taste pretty good? >> delicious. >> american food was focused on convenience foods. frozen items, canned items that were all being advertised and touted as great ways to save time. >> everywhere, there was packaged, processed, frozen, under plastic, in boxes food. it was all very not recognizable. >> just pop them into the frying

pan with a little water to produce mouthwatering fried potatoes in minutes. >> people discovered canned soup as sauce poured over the chicken, fish, whatever, and that was your sauce. >> americans were eating jell-o salad and might have chopped up carrots with marsh mellows in them. it was pretty awful. >> people used a lot of spam. it would not be unusual to go to a dinner party where there was grilled spam with slices of pineapple on top of it. >> we ate without much style, flare, and imagination. so when julia did her omelette on that first example of her cooking on television, the phone began to ring and the station actually got a pulse. what a sketch, what a take on french cooking.

boy, i think i'm going to buy her book when it comes out. it was all positive. and it gave the station management the idea that maybe a tv series could arise from this appearance. i was summoned to the office and they said we'd like to try two or three programs featuring julia child cooking, we'll make three pilots . >> hello. i'm julia child. welcome to the first chapter the first show in our series on french cooking. we're going to make beef stew with red wine. and it's a wonderful to begin

our series on because it shows you so many useful things about french cooking. >> when i did the first show, i was interested in how people could make beautiful food that tastes good. >> i'm not going to crowd the pan, either, that's another extremely important thing because if the pan gets crowded, then the meat steams. >> my point is to make cooking easy for people so they can enjoy it and do it. it should be, and is, i think everybody's pleasure. i think they should have no fear of cooking. that's terribly important, that you must be a fearless cook and the more you learn how to cook the easier it is and the more fun it is. >> cooking and food is

important. we learn from our mothers minutes after we're born, that m warmth, that we have this need of the people we love that gives us a sense, i belong, i'm here, i am part of something bigger. >> cooking is bringing people together to the table and once you surround yourself with people you love, that's how you connect with each other, by sharing food. >> food, for me, is really a window into our own identity. you look back at the history that was here before us, it really tells us who we are. if you want to taste who i am, taste this.

>> i was born in pasadena, california, august 15th, 1912, a lovely, lovely place to grow up. >> pasadena was like paradise. my grandparents had this big old rambling house with an entire walled garden that had avocados, lemon trees, it was just beautiful. she was the oldest of three children. there's julia and then john and then my mother dorothy. >> we'd hang on to bicycles or ride all over, just had a good time horsing around. >> she was 6'3", john, 6'4", my mother, 6'5" and grandma's reaction to having these three

enormous children was good heavens, i've produced 18 feet of children! >> we had very sensible, new england type food as my mother came from new england. roasts and fresh peas and mashed potatoes, but nobody discussed food a great deal because it just wasn't done. >> in that white anglosaxon society, there were proper things you talked about and things you did not discuss. anything to do with sexuality, you didn't discuss politics, you definitely did not discuss money with people. >> she told people that she was middle class but they had to be really wealthy. the fact that she never cooked, i don't think that her mother cooked. i think the cook cooked.

>> i was entered at smith college and in those days, women weren't taken very seriously as anything but just brood mares. you could get married but you didn't go into a career because there weren't any. i wasn't preparing myself for anything. i was leading, really, a leisurely butterfly life. i graduated in 1974. my mother became ill. she died when she was around 60. i went back to pasadena to take care of my father. >> julia's father, john mac williams was very strict and very conservative.

i think julia loved him very much but it was hard to get close to him. >> her father really believe said that like should marry like and that julia should become a traditional upper-middle class well-married woman. >> most of the women in julia's circle were getting married and she wasn't. she was always a bridesmade, never a bride. >> julia's father, he wanted her to marry the sion of the los angeles times family and julia didn't want to do that. >> if i had to marry a conservative banker or lawyer, i would have played golf and tennis and probably would have been an alcoholic. >> she was proposed to but she declined. >> julia broke with her father and she stood up to him.

>> she had these romantic dreams where her life might be, really pining for adventure. >> america is at war, battle cry with four corners of the earth, marine, navy, army stations deployed. >> everyday, new regions called to active duty, afloat and ashore. >> it wasn't until world war ii that everything really changed. everyone was dying to do something. you wanted to get in and help. i had nothing to offer except i could type, so i ended up doing office, menial office work and that's when i got into the office of strategic services, oss which was the precurser of the cia or special intelligence. i did want to be a spy and thought i would be a very good one because no one would think someone as tall as i would possibly be a spy.

>> she was not a spy. she did work with spies, working with top secret files as a clerk typist. >> the oss began to recruit people to work in the far east so i volunteered. >> with julia, world war ii made a big difference. it was freedom. she never looked back with any wistfulness on the conservative, rather narrow life that she had lived until then .

>> ceylon, this island, surely was fascinated in those early days. it was kind of exotic and that's where i met hal. we were building the burma road at that point. and paul, he was in charge of maps and diagrams. he was a graphics artist. >> paul was a polymath. he did not go to college. he was self-taught, but he was a very, very bright guy. >> paul was ten years older than julia. he had experienced life in a way that she hadn't.

>> after sri lanka, they were posted to china. >> when she met paul, she felt she really knew so little about civilization and just enjoying th e world.

paul is a gifted photographer, and he gradually introduced julia to artworks and the way people lived and took food. >> we were able to go out and eat in the restaurants and that food was delicious. >> i'm sure it was a revelation. paul helped open up another

world, other worlds. >> try to imagine what it must have been like for her to discover that food and love and everything else, all at the same time. >> what a woogs of joy and life it must have been for her. >> after the bomb dropped, the war ended really immediately. we went back home and decided

we'd get married so we had a nice wedding. >> paul child and john mick williams were at either end of the spectrum. julia's father would dismiss paul as a liberal who cared about food and wine. >> julia's father was very republican. when julia married paul, she became a democrat. my grandfather was, what? that's not supposed to happen. >> after the war, the diplomatic corp sent people abroad and paul spoke beautiful french so he was sent over to paris and that was where our wonderful life together really began.

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we drove through this beautiful french countryside, i was besides myself with excitement, these ancient

buildings and old churches. i remember my first meal there. we had a beautiful first lunch. at la couchon. it was my first french food and i never got over it. >> if you have asor vinier, magnifique. first you need a big soul, big fillet. you melt butter, and when the butter start to make the bubbles, you put your sol on both sides. and the flesh is transparent.

is absolutely delicate, one of the finest things in life. you just add some salt, viery fw salt and some drops of lemon. just a fish. perfect fish in butter. it's a perfect. it's perfect. and she said walla. i found my way. with a soul. >> it was just absolutely delicious. and as soon as i got into france and realized what it was all about, it came upon me that's what i had been looking for all my life. one taste of that food and i never turned back.

we sat in the top floor of an all private house in paris. ♪

they take food so seriously and that's what really got to me over there is the way you were so interested in what to order. it's a very serious business . >> she didn't care about fancy things, like loui cators and what a lot of people love about

france, all that, but she loved the way of life and the food . >> in the summer of 1950, julia invited her father and stepmother to come to france. paul and julia did their best to take them on a trip around the country, show them some of their favorite places but john would spend a lot of time complaining about the french and didn't understand the culture, didn't understand the food and didn't really want to .

>> i decided would really like to do serious building in the c cuisine so i enrolled in the cordon bleu. >> it's one of the oldest cooking school in paris, with the top, top chefs, refined artistry of cooking. you have to understand that french looked to the cooks and always has been looking to the cooks as artists. >> they had classes for the gis and the bill of rights. >> because of the gi bill, all the soldiers who had come back from world war ii had the right to be funded to go back to civilian life.

so julia was in fact with 11 gis being trained by max buignar, a brilliant chef. let's face it, as many male chefs, was thinking she was the only female with the 11 gis, was she going to be serious? could she even be a true professional? >> in ffrance, cooking was a wo of men.

. >> in my youth, i always heard a woman could not be a chef, because in kitchens, pans and pots are heavy, and it is not place for her. >> it was fascinating to see how much there was to learn, and the more i got into it, the more i loved it and the more i appreciated it as a true artform that you could spend your life over. >> we french love coup de -- in the last 200 years, france codified the fundamental skills of the cuisine. it's like architecture or music, you have to love your fundamentals and then you can play with it. >> well it's a hand work you

have to develop, how to chop rapidly and the perfect dicing of things. all that takes practice. it really requires every aspect of your psyche and imagination and creative. nothing was too much trouble to produce a beautiful result. i would go to the cordon bleu at 7:00 in the morning and finish around 11:00 then rush home and prepare a fancy lunch for my husband, paul. ♪ ♪

>> a love affair with paul, it was obvious. it was more than julia, he was looking at her with eyes and she was always, oh, she was asking like, how does a pidgeon do, like oh? and paul looking at julia as he was in admiration for his wife .

>> cooking, it's an expression of what you learned and what you see, what you smell, what you are able to do with your fingers. and when you cook, you give your love. it's more than to figure but it's how to have pleasure. >> with julia and paul, clearly, you read between the lines. i mean she comes home, makes him a great lunch and obviously go

to bed everyday. ♪ >> julia's advice for a good marriage was to maintain the three fs. you had to feed your man, you had to f- your man and flatter your man.

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too conservative for california. everyone we knew in france was interested in food. most discussions were about food, really. >> julia met at the party and found many things they could share. >> she was a very good cook. we met and just immediately became busom friends. i had some american friends who wanted to learn cooking so they said will you teach us? and i thought heavens, i'm not ready for that, but sinca was

and she had her friend loiza so we started a little cooking school in our kitchen that had room enough so we could have six pupils. simca had been doing a book on french cooking for americans and needed an american collaborator. >> she needed an american view, american attitude. >> so we started writing our book. >> the goal of the book was to make french cooking for americans with american products so that you could replicate it here. semca, her partner, found that difficult. because semca found it should only be done the french way, regardless. >> semca was a very willful woman.

she was very promising, you don't do it like that. you don't do it like that, you do it like this. it sounded only like she wanted to wedge into everyone like a police officer. >> she was not an easy woman, nor was julia. they both had very strong opinions. >> i had started in quite late when i started cooking. and i found that the recipes in all the books i had were really not adequate, they didn't tell you enough. so i felt that we needed fuller explanations. so that if you followed one of those recipes, it should turn out exactly right. they would try the recipes again and again to make sure they work. there were a lot of revisions. >> julia was quite scientific, she was kwiind of like a chemis doing experiments over and over and over again until she got it right. >> she did not know how to take

shortcuts or to do things by half measures. okay. it's not working this way, we'll have to do it all over again -- do it all over again. >> i sent a copy of this book of recipes to a friend of mine. they offered us a contract for a book. so we were delighted. >> then, paul childs, at the time, we didn't have the means we have now, email or anything. so it was all by mail. simca would type recipes, send them to julia. julia would send her own ideas and back and forth. >> it was a tremendous amount of work. it took 12 years to write the book.

she would type all the recipes in triplicate and send one copy to my mother, her younger sister to test out the recipes as an american housewife. her directions are there as if she's standing there in the kitchen with you holding your hand each step of th e way. >> the book was finished and we

sent to to mi fflin. and they rejected it. >> they said to her, nobody wants to read a treatise on french cooking. people want a mix and stir cook can cookbook, they want something that's convenient. cookbooks at that moment in time would not go particularly deep in terms of explaining recipes and julia's book was a very different proposition than anyone had ever seen before. >> that was very disappointing to have them turn it down. terrible. she really had great hopes that it was going to take off. >> at the same time, paul was deeply frustrated with the bureaucracy, and the petty politics in the u.s. embassy. he was called back to washington and was accused of being a communist and homosexual. the accusations were untrue, but

he was humiliated and furious and he ended up taking an early retirement. in 1961, julia and paul moved into their house in cambridge massachusetts. >> paul didn't have a career at that point. i think they were a little mistified as to what they'd do. >> add editor at kanauv by the name of judith jones read it and wrote, reading this book seems as good to me as taking a basic course at the cordon bleu, i think this become will become a classic. ju judith needs to convince the publisher it was a book that has merit. alfred was not convinced at the outset although judith's passion for the project led them to

believe this is a book they should take a flyer on. the title that they arrived at is "mastering the art of french cooking." when judith presented that title to alfred he said to her, if anybody buys this book, i will eat my hat. >> when the book came out, simca came to the usa, at that point in 1961, i don't think there were many book tours but we decided to go around the country to promote the book. i was invited to be in a book review program in boston. to liven things up, i made an omelette and that's how the idea of a cooking show started out. >> from the first time she appeared on that show, julia was different from anything on

television. >> on television, women were basically part of the window dressing. young, attractive and sexy way, or everyday housewife type, but a housewife on steroids because nobody dressed like that in reality to be in their homes. >> and you certainly didn't see them telling people who to do or teaching in any kind of way. they were objects. >> there are no clean socks. >> the tradition is essentially that only the men were important. women were really to be in their place. they were told, stay at home, be docile, and forget that you ever had a brain. >> when we started the french chef, i think i was paid $50 a show because it was just an

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we had no studio space for the show, and the boston gas company came to the rescue. and they said, you know what? we have a demonstration kitchen. it's got a nice flat floor, so you can roll your cameras around on it. >> wgdh was kind of wild and woolly. everything was pretty low budget. they scraped by month to month. >> only with this equipment can we record on the spot reports for you. >> most of the major programming was done out of a mobile unit. they had a generator, three

cameras in the cable. we carried all the cameras up three flights of fire escape which, in the winter, was a daunting project. >> we had big, heavy, awful cameras. i hated those cameras. tubes -- literally tubes would fall out on the floor. >> there was a lot of creative work with duct tape, holding things together, patching things up that started to fall down in the middle of things. >> i pointed out to her that we had no tape editing. we weren't to cut it in any way. there was no teleprompter. so, we had to do it in long takes. ♪ >> welcome to "the french chef." i'm julia child. today we're cooking a goose. we're going to use the goose liver. and the goose liver is enormous. a pale liver is usually the best

color rather than the dark one. so, we're going to use this in the stuffing, so we just chop it up. then we're going to saute it in butter. >> the first shows were live on tape, which gave it a kind of breathless quality, which was rather nice. >> this should saute for just about a minute or two. >> but whatever happened happened. >> when you're ready to cook them -- i'm sticking on the beans. >> she had to devise an outline of points she wanted to cover, but she didn't memorize everything. she prepared her work meticulously. she would type these things out single space, two or three pages of what happens after this and after that. >> mix them all up. >> they would do this to the chicken and they would do that to the chicken. >> there. >> i mean, she knew what she was going to do, and i was really just the traffic cop. >> turn the blender on. >> julia was a master at getting

everything together and then just letting it roll. >> adding a little olive oil until it gets chicker. >> she could add lib endlessly. >> a smaller amount of vinegar in the beginning. by about this time, it'll be so thick. in that case, you thin it out with a little lemon juice. >> i had the young producer, ruthie. she always had a good sense. she said you want to come on with a bang and you don't want to go out with a wimper. >> what's missing in this picture? the goose. and here it is, all juicy and ready to eat. this is a dough with yeast in it that i'm slapping around here. look at this magnificent head. we're going to do -- today. >> it was often just one dish so we could really go into detail. >> they had to have food in different stages ready. the raw fish, the partially cooked fish, the fully cooked fish. >> there. now, that's ready to eat.

>> we used the heavy, nasty mic. in fact it even had a little charge to it. occasionally she would get a little shock. >> every time i'd touch the stove, the microphone would go -- >> if paul wasn't busy, he would be sharpening a knife or he would be scrubbing some residue off the bottom of an omelet pan. he was a big, big help. >> we found i had no concept of time. we changed the system of having idiot cards. >> i had little signs that said slow down, speed it up. the producer, sweat, it would bother her that julia would be dripping sweat into the various dishes she was working on. >> i've got my heat on so high. >> julia was supposed to wipe her sweat. everyone in the crew enjoyed watching her prepare the food,

and we knew we were going to get to eat it at the lunch break and again at the end of the day. >> and how was the food? >> delicious, of course. >> when you hold your knife, you take your thumb and forefinger and rip the top of the blade like that and then hold the rest of the knife in your other fingers. you see? that way. >> it was really a teaching show. trying to teach the proper way of doing things. >> and your knife knocks against your knuckles as you move your finger down. >> it makes all the difference in the taste. that tear, that's what gives it that lovely french taste. >> she really got the crux of what was the essentials of the dish. >> cook the flour slowly. you're going to get a much smoother and nicer tasting sauce. if you felt it didn't have enough garlic, you can put some in now. >> and you must remember to taste as things are cooking. >> it's good, but it needs more salt and pepper.

>> does it need more salt? we need more sugar. is it getting too sticky? >> that's very good. here is a great big old bad artichoke. some people are terribly afraid of it. >> at that point, people weren't very adventurous. the general public never eaten a fresh artichoke or fresh asparagus until we began showing them. >> i'm going to try and flip this over, which is a rather daring thing to do. you just have to have the courage of your convictions, particularly if it's sort of a loose mass like this. well, that didn't go very well. >> if she made a mistake, she was not remotely rattled. >> i didn't have the courage to do it the way i should have. you can always pick it up and know in the kitchen, who is going to see? >> she felt that making a mistake was a good thing just so that she could then show you how to fix it. >> any time that anything like this happens, you haven't lost

anything because you can always turn this into something else. we'll pretend that this was supposed to be a baked potato dish. >> some people would accuse me of doing things purposely. but anyone that's been in the kitchen know that awful things happen all the time, and you just have to make do with whatever happens. >> this is a mention ma'am security oven. it's not to be opened for 25 minutes, or everybody will be court marshalled. there's a souffle in it. >> i don't think educational television has to be entertaining. it can't be dull. >> here it is sitting up waving at you. >> we made it fun because i was having a good time. >> so many people seem to hate fish. oh, i hate fish. why do we have to have fish? i just hate it. >> she was such a character. that voice. >> [ speaking foreign language ] >> the fact that she was so theatrical. >> just beat it.

that's all you need. i'm all ready to make fish. >> she was always waving things or banging things. >> i'm julia child. >> but she really knew what she was doing. terrific technique. >> here's the dome of caramel. >> she would make the most ridiculously complicated recipes and then pretend like it was simple as can be. >> she comes off. >> whether you cooked or didn't cook, people would just watch her for fun. >> everyone would say, i'm using julia this week. >> "the french chef," a mere, inexpensive effort, seemed to capture the imagination of its audiences. and granted public television audiences it never had before. >> julia childs.

>> she really had a big hand in making public television take off. >> welcome to my emmy kitchen. >> she's a celebrity. wherever people see her television programs or read her books. >> i cannot tell you what it was like to look out of a hotel window at 7:30 in the morning and see 500 or 750 women waiting to see julia childs cook. and of course sales of mastering abso absolutely soared. julia really -- desire for publishers to promote them. >> i think i love you. >> it's good. >> it was a surprise, how it

cook off. she was in her 50s. i don't know what she expected. but i imagine she hoped it was going to work. but i don't think she had any idea of the magnitude of it. >> will you please welcome julia child? tell me, is there an attitude or a frame of mind or a personality type or something that makes for a good cook? would i qualify, for example? >> oh, rick, yes. looking forward and salivating over what you are about to prepare i think is very important. >> and i find there's a sensual pleasure in handling food. does that mean i'm odd? >> it seems that you're following the modern trend of america because i think more and more people are getting interested in cooking as a creative activity. >> i happened to appear at the right time, just when people were ready to go into some more interesting cooking. the kennedys were in the white house when will i started out.

>> mrs. kennedy. [speaking foreign language] >> and they have their wonderful french chef. everything they did was news. and food of course then became news. >> america was looking beyond its borders. it seemed to be a moment where we were ready to embrace culinary horizons. >> there i was. >> today we're going to make chocolate cake, and it's a very special, very chocolate, bittersweet, lovely cake. >> julia was not a particularly remarkable beauty. she was middle aged with freckles and her hair changed daily. but you were mesmerized, spell bound by what she was saying. >> people could relate to her.

i learned how to cook at my age and you can learn to cook at your age as well. >> cooking is a lot of one failure after another. and that's how you finally learn. now, fabric. just like that. >> it's very nice to know that you can make all these goodies yourself. >> she opened doors for me as a person that i could cook. >> we're making the stew of stews. >> we would watch julia's show with my grand mother. and then grandpa would go buy the ingredients and we would cook that meal. she just seemed so unpretentious that you thought if she could do it, you could do it. >> we all grabbed onto julia and we began cooking her things. >> she was giving opportunity to

say, don't be afraid of failure. just enjoy it. >> you might mispronounce it, or you might not know which fork to start with. it's okay. but you can do it. >> her coming on television and telling america that they could make great food out of the supermarket virtually changed the landscape of food in america. >> people didn't make jell-o salads and serve them at a dinner party anymore. >> wonderful, steaming stew. you see how nice it is to have these big chunks. there. that's all for today on "the french chef." this is julia child, bon appétit. >> in france, julia has no reputation at all. mastering the art of french cooking was never translated in

french. when i talk about julia, no one knows. there's no trace of their work. >> finally okay. >> so, we can make the special party. >> i remember once asking my aunt, does it hurt you that she's so successful in america? she simply replied, she's a businesswoman now. >> you could even use a pie crust mix, couldn't you? >> i'm french. >> when julia and simca wrote "mastering french cooking volume 2" julia thought she brought all this american publicity to the table. so, she wanted to get a little bit more than 50% of the deal. and simca balked at this. but julia stayed tough and insisted. she wasn't always the genial

julia that you saw. she had a lot of her father in her. she could be a very tough negotiator. and eventually simca agreed. >> at one point, a magazine sent reporters to take pictures. simca was not included in that session. i know that she was really hurt. >> the relationship became frosty because it was hierarchical. it was julia childs and simca. julia was the star. >> the station executives were determined that we continue these cooking programs. >> we're having a cheese and

wine party today on "the french chef." the platter, that one molded very badly. that's too bad because it does look very nice. rule one, strangely enough, is read the recipe. >> mastering was such a success that it led to book after book. >> there was a great appetite for any new julia child content. >> you've got to have a food processor. >> tonight's program features two great cooks, jacques, and julia child, who needs no introduction. >> we're going to start with some shrimps, aren't we? >> julia, you're going to saute those in there. >> yes. i hate to admit that i just cut

my finger. >> ten minute bfrs we start, i had a paring knife and julia cut a piece off. i pushed it back together all by the skin. i push it back together, and i tie a towel around. they say, what are we going to do? julia say, we are not going to do anything. jacques is going to cook. i'm going to taste. and the show went on. >> and you want the whole orange cut into pieces. >> bafter the show, we went to the hospital. she had five stitches. >> the day after, she was on the johnny carson show. >> did you do this in the kitchen? >> i did that in the kitchen. >> forgive me for laughing. i didn't know good cooks were supposed to do that. >> did that go in the preparation? >> that wasn't part of the recipe. no. >> i see.

>> julia child. today i'm going to make a holy feast. >> we happened to turn it on and there it was, live. >> now i've done it. i've cut the dickens out of my finger. i don't know how this happened. oh, god, it's throbbing. >> she had a copy. and dinner parties at her house, she would show the dan aykroyd tape. >> it was very funny. we loved it. >> why are you all spinning? i think i'm going to go to sleep now. bon appétit. >> one time i said, you know, julia, i sometimes forget when i'm with you how famous you are. and she said, you know, so do i. and i think she did.

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commercialized. she really felt very strongly about not endorsing products. when she would have products on camera, we were in charge of masking tape over the brand. >> she would say, you should have some wine, but she wouldn't say what kind of wine. why should her favorite salt get promotion from her when she hadn't tried them all and there might be others she liked as well. and not to have anyone buy their way onto the program. >> julia child, you were quoted as follows. i think the role of a woman is to be married to a nice man and enjoy her home. do you stand by that? >> yes because i'm a homemaker as well as a tv cook and a teacher. >> i wondered if the women's liberation movement had caused any adaptation by you and your sensibility to their needs? >> no. i'm a working woman myself. >> you sure are. >> our working day stops at

around 7:00. when the news goes on, i start dinner, the making of a home is, to me, one of the most important things in the world. i just love living with my husband, and i can't imagine not having a happy home with him. >> julia never called herself a feminist, although she was clearly really important to the feminist movement. >> women were treated pretty badly in cooking school. teachers were all european male chefs, and they'd rather not have women in their kitchen. >> most women felt they couldn't really have a career making money in food. but her success really opened up a career path to a lot of women who may not have thought about it at the time. >> when i started working with julia, we'd walk into a restaurant to have a meal. then afterwards, they would want to give us a tour of the kitchen. and the first thing she would say is, where are all the women? how come there's no women in here?

she absolutely expanded the possibilities of what women could do. >> a lot of the people in our neighborhood were harvard faculty, all men. but julia was one of the major figures. she was very eager to meet everyone, to learn about them. but paul was always an enigma to me. i never quite knew what was going on in his mind. >> he was very exacting about words. if he used the wrong word, pronounced it incorrectly, he would let you know. >> he was very proper, very proper. and he was critical. people were afraid of him. but she adored him. she had a pet name for him. it was -- and that's what he

responded to. >> he's a one-man artifac facto. we've always liked to do things together. >> hi, julie. this is paul. listen, i've got two friends i want to bring home to dinner. and we'll be there in about half an hour. can you make it? >> company for dinner in half an hour. >> paul became her business manager, her chief mushroom dicer, dishwasher. if julia was the boxer, he was the corner man. >> paul, who's very organized, made sure that julia had everything she needed. he helped her do the research. he wrote up the cue cards, made sure she had her knives. he made sure she was ready to roll. >> i wouldn't do anything if it weren't for him because he's been a wonderful supporter and encourager. >> he watched with enormous pleasure as she eclipsed him.

men of his generation just did not do that. they did not push their wives to be the best that they could be and then happily stand back and do everything they can to help her career. >> my aunt julia was very sad about not being able to have children. i think she would liked to have had at least one. but that wasn't to be. she saw me as a child she didn't have. and actually all her nieces and nephews. she embraced us as her children. what she said to me later was, well, because i didn't have kids, i can throw myself into work. >> i want to do this very slowly. turn it over and push it back just a little bit. you can see that's -- >> she got word that she had

breast cancer. paul was absolutely devastated. he was -- thought he was going to lose julia. >> julia was very stoical about it. in julia's family, you would never talk about illness, let alone cancer. you didn't want to upset people. >> she never complained about it. she never complained about it. she would say, i've got to go in and get this taken care of. >> she had a scar that ran from her shoulder almost down to her belly, and she said she was in the bathtub and looked down at herself and was sobbing. paul came into the bathroom and said, what's wrong? and julia said, how are you going to ever love me. look at -- look at me. paul said, i didn't marry you for your breasts. i married you for your legs.

and so she said she never gave it another thought and that was that. >> i'm perfectly fine. i'm just very grateful to be alive. >> she is really a tomorrow person. she's not a yesterday. we don't care what happened yesterday. we only care what happens tomorrow. >> please welcome now julia childs. . >> you're going at things in a rather fearless manner, and it shows a direct approach. >> you have to be careful -- >> because you do get criticized. >> julia was very strongly pro-choice, and she supported planned parenthood always. >> have you ever been to any of our planned parenthood adventures before? >> she thought it was very important for women to be able to determine their own lives.

>> julia child became part of what was called our board of advocates. she opened up the idea that we could have people known for something other than health care but who understood the importance of women and women's rights and women's access to health care be part of this movement. julia's audience were women from all walks of life. they were in rural america. they were in big cities. and the power of her saying, i support planned parenthood, i stand with planned parenthood was really important. >> the crowd at the supermarket was primed and ready for the cook's arrival. jockeying for the best position to buy the limited number of autographed cookbooks. but a group outside was busy protesting what they feel are far more important matters than how to best broil a beef. >> we're out here to let the people know what stores, what agencies, and businesses are supporting the abortionist

planned parenthood. >> they said they're going to picket every appearance. >> she risked her own celebrity, her own reputation, to associate herself with an issue that many found controversial. >> that kind of backlash, she just let that roll off. >> in france and italy, it isn't even an issue anymore. if we have the planned parenthood in the schools, we wouldn't have to have any abortion. >> when julia had deep convictions like that, she was unflappable. >> the best french way of doing green vegetables is to put them into an enormous pot of rapidly boiling water. 15 years i've been at people for how to cook things properly. >> julia had given our mothers, our aunts, the idea of trying to make great food. but our generation tried to take it to the next step. these young cooks set out to start going to farmers to get

great food. julia's notion was that anybody who learned technique could cook great food out of the supermarket. our mantra was the opposite. you can't cook good food unless you've got great ingredients. >> you run into all this business on the cuisine of underdone vegetables, then you can't eat them because they're practically raw. >> she was defensive. she had been queen for so long, and she had so changed american food that the notion that there was a generation that was critical -- i mean, she was not used to criticism. if an oral t is right for you. oral treatments can be taken at home and must be taken within 5 days from when symptoms first appear. if you have symptoms of covid-19, even if they're mild don't wait, get tested quickly. if you test positive

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and action.

>> give me the matches. hold three, three. give me the matches. >> 1980, julia had her first really big setback with pbs when they didn't air her new program all across the country. >> why are we not going to see your new show on public television? >> i don't know. it's up to every public television station what they want to show. maybe they don't like food. >> pbs started to take julia less and less seriously, focused resources in other ways. i think it had something to do with her gender and her age. she were sort of easing her out. they were getting ready to put her out to the farm. >> julia was hugely frustrated by this. she said, forget it, pbs.

i'm done. and she quit. she could have quietly gone into retirement, but she didn't want to do that. >> she would say, if they don't see you on television, they think you're dead. julia was a dynamic force that would not be silenced, would not lay about waiting for her next great television show. >> so, she went to work for "good morning america." >> that's tomorrow on "good morning america." >> on "gma," she had to do an entire dish in three minutes. but she learned to adapt, and it provided her a much larger audience. >> when i first met her, i was intimidated. i was meeting an icon. how am i going to approach her? i didn't have to. knock, knock, knock on the door, and in she bursts. darling, deary, we're going to have so much fun. >> you don't put your hands on

that. >> oh, you don't. >> i'll explain that later. >> julia was an incorrigible flirt. >> you say potato, i say potato. >> i don't say potato. >> here's this 70-year-old woman or on into her 80s, and she's flirting. she's making you feel as if that's the smartest thing she's ever heard. >> what would we have? >> we'd have hamburger. but in a very special way. >> she liked to flirt. >> i know. i know. >> we better taste it, i think. i have an impeccably clean mouth. do you? >> yes. >> [ speaking foreign language ] >> she was wonderful with women. don't get me wrong. but she really liked men the best.

>> she was friend with men. some were gay. some loved women. it's life. >> she liked straight men better, although the cooking world is full of gay men. many of them, she was very close to. bob johnson was her lawyer, and she felt a great loyalty to him. >> i don't think that julia thought that bob johnson was homosexual. he had a girlfriend that came to all the parties. and she used to say, i wonder when they're ever going to get hitched up. she just didn't see it. >> did not acknowledge it. >> she called homosexuals "homos." did you see all those homos in the audience? >> it was derogatory. >> it was new for all of us. we were coming out of a period when gay people didn't exist or really weren't meant to.

bob told her he had aids. >> when bob johnson died of aids, it really hit her hard. she did a 180. and she had a revelatory moment. she would say, who is going to take care of these people? they've got this horrible disease that nobody understands. so, she did an aids benefit. and she thereafter became quite outspoken about her support of the gay community. >> aids is just a horrible disease, and we have to make everyone very well aware of it. and this is one of the very best ways of doing it. food is love, isn't it? it gets everybody together. >> julia came from a place where there was a very set notion of

how a person lived one's life. but she was a person who was very much about "i can learn." her whole life about was evolving. >> oh, look at that. can i have a little taste? mm. that's a sausage. >> julia loved to eat. >> what are these? can i try one of those? >> artichokes. >> artichokes? i'll just pick one. >> julia's appetite was absolutely astonishing. people were always bringing special dishes. julia, i would just like you to taste this. and she not only tasted it, she would eat it all. >> no matter where we were, in someone's home or at a restaurant, when her food came, she started eating. it was what she called french

rules. when you're served, you eat. >> boy, this looks tender. >> she had the fastest fork of anybody i've ever eaten with. reaching across and tasting your food sometimes without invitation to do so. she just reached out and grabbed it. >> never had julia child eat off my plate before. >> are there any foods that you don't like? >> i don't like things that are not fresh and not well prepared and cooked by someone who doesn't know what they're doing. >> look at that. isn't that nice? now the best part of it -- >> is the eating. >> okay. very good. >> that's great. >> when friends think twice before asking you to dinner -- >> just give me a good steak or hamburger and i'm happy. >> this is my kind of gal. you're not a health -- >> certainly not. i hate health food of any kind.

>> julia would cook with butter, a lot of butter. >> i have six and a half sticks of chilled butter -- >> goodness, julia, you and your butter. >> isn't butter fattening? >> nah. >> i think there's so much talk about health and nutrition, that a lot of people are scared of their food. so, i think know what you can eat and then enjoy things. >> yes. >> what is it like to have dinner at julia's? >> wonderful. >> once you got there, you really got cooking. it was -- >> that was the entertainment. >> we all were given tasks before dinner to get it ready. and if you were using the knife the wrong way, she would come over and show you how to use it the right way. >> oh, she said, ultra roast beef for mr. -- her wonderful butcher. she trimmed the fat.

she slashed it in diamonds so the drippings would escape. she roasted medium on the outside, quite dark pink for the roast. the potatoes, you cut in big chunks, blanch them, scratch them with a fork, and they'll absorb more of the dripping. so, you'll get a nice, cuss tricep outside. there will be all those nice juicies in the bottom of the pan. and you add, two, three cups of beef stock. boil the hell out of it. until it starts to make a very

characteristic noise. and that's gravy. i'm slightly ashamed to say, i'm constantly thinking about it.

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julia always came back to france. julia and simca, we knew the friendship. they never ceased being friends. >> julia and paul built a house on the major property that belonged to simca. >> this is where we live.

>> you smell olive blossoms and the wild herbs. it's the most lovely country. >> she really loved france markets and she loved people. [speaking foreign language] >> i could see her come alive when she got to france. it was a very special place to her. it's where she discovered herself. it was such a respite for her and paul to be there. >> paul had a heart attack, and he had a ministroke. >> it left him with what he called scrambled brains. here's this guy who was this

wonderful intellect, very physical person, and he could barely speak. he was very moody. he never fully recovered from that. >> it was really hard to see him lose that major part of his personality. but julia treated paul as if he was as okay as he could be. so, whenever they travelled, he went. >> you never saw her without him. he would be sitting in a corner quietly. but he was always there. >> it was sort of a slow and steady decline. >> he had been having dementia problems. the decision had been made that it was time for paul to go to a nursing home. we took him there and she had made sure that there were photographs and things from their home in this room.

and he sat on the bed, and he said, why am i here? why am i here? why am i not in cambridge? and she had to talk to him and say, well, this is just a nice place to stay tonight. i'll be back in the morning. and a lot of excuses. and then we got into the car and she broke down. it was the only time i've ever seen her like that. >> julia didn't really show her grief very much. even when paul passed away, she was pretty stoic about it. i know that she cried privately, but not -- she didn't know that anybody knew or heard or saw. >> he was her life partner and best friend. it was hard.

♪ >> it was very sad for her. but she didn't let things get her down. ever. she just went right on.

>> julia exceeded everyone's expectations. and her ability to continue in television long past the time when most people would have hung up their spatulas and gone on to their reward. >> how much longer are we going to see you doing television? >> well, until i drop, i believe. >> we're going to start out with a bold, stuff roasted turkey. but here you are -- >> julia redefined age by example. when she was 87, she launched a 22-part series. >> happy cooking. >> bon appétit. >> in classic julia fashion, she had a detente with pbs and she did a few series with them. >> this is a really good dessert. >> she was 91 when we were

working together in her memoir. >> she did not recognize her advancing age. she would be resistant to it. she would not admit to it. she would not lie down to it. she was too big for that. >> julia became enormously generous to young chefs. she was very supportive of that. >> when julia child came to it was like taking somebody out of the tv frame and walk into your restaurant. she created a real sense of excitement about the notion of food people coming together and supporting each other. and the notion that there was an american food movement. >> when i was a little girl, i used to watch you and you can make a mistake and you taught me it is okay. >> she was driven by the social

aspect of what she did. she loves the energy of having people around her. age did not stop her until her body really failed her. >> when you take it off, these couple ones over the fence. i think people enjoy seeing

these. julia child died today. >> she shared everything. we need to tell how important everything was. >> how do you know somebody's influ influential? julia paved the way of this incredible moment of food and pop culture, making it domestic. something that's extremely popular. >> all right. we are here. eight tablespoons of butter. >> they're green beans. >> a lot of us write cook books and do tv as jeulia did.

she got to train out of the station. >> chefs, our lives are in the basement. today, young generations have this love for food and instagram and tweeting. now, we are seeing the food effect . it takes a little while, you just have to be patience and wait. >> one of the first programs we did was a simple take.

>> she signs with it and she finishes with beautiful stew. >> see you next time, b bon apetite. ♪

he evolved from someone who's analytical to someone who became more about the action. >> i just think about all that he did. >> we never forgot about his race. when i say his race, i am talking about the human race . . ♪

>> to child, we present the chicken sister, miss stewart and all, we are spot-lighting this roster of the year. >> let me sit in between like this. ♪ ♪

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about ♪ >> just love that food, i can eat nothing but that but the rest of my life. ♪ she's one of the most distinctive personality for television, julia child. >> she changed america. >> he she made food looked like was fun. >> julia is the madonna. >> julia was a pop icon. >> you can say julia and

everybody knew it was julia child. >> i didn't start television until i was in my 50s. it was my chance to get on television to be the white woman at the right time. >> behind me in this concrete building, filled with the tools and the remarkable industry called television. >> i was a producer/director of public television station in the area. i was in the office when the phone rang. it was a woman of this gasping strange, very distinctive voice and she said "i would like to request a hot plate be provided for mr. duhamel's program that i will appear tonight." it was a book review program

that i had been reading. >> she was going to talk about her book, "mastering the art of french cooking." i said, "i have to pass that along, madame, but i would have to say it is highly unusual. >> how can we find this size of the earth? >> we have seen distinguished members who'll explain high-end english and literature. >> it was some heavy stuff. >> she said,