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, "get me that high

plate." >> she made a proper omelet in a proper omelet pan that night. the host was blown away by its lightness and its taste. >> you have to understand in those days, no one had an omelet pan in metro boston. we would not know where to start or a garlic press. >> smart mother, no more than 25 minutes, serve a meal that's rival over home cooking. >> pretty good? >> american food was focused on convenience food, frozen items and canned items that were all a advertised and touted as a great way to save time.

>> everywhere that was packaged and processed and under plastics and inboxes. it was not recognizable. just pop them in a frying pan with a little water to produce mouth-watering fried potatoes in minutes. >> people discover can soup as sauce poured over the chicken soup and whatever that was your sauce. >> americans we eat jello. people used a lot of spam, it would not be unusual where there was grilled spam with slices of pineapple on top of it. >> we ate without much style flare and imagination. when julia did her omelet on that first example of her

cooking on television, the phone began to rang and the station actually got a pulse. >> want a sketch and a take on french cooking. boy, i am going to buy her book when it comes out. it was all positive. it gave the station management. the idea that maybe his tv series could arise from this appearance. i would summon into the office and i said we would like to try two or three programs. featuring julia child cooking would make three piles . . >> hello, i am julia child,

welcome to the first show of our serious on french cooking. we'll make beef stew and red wine and a wonderful show to begin our series on because it is so many useful things about french cooking. >> when i did the first epi episode -- >> i am not going to crowd the pan either. >> making cooking easy for people so they can enjoy it and do it. >> it should be everybody's pleasure. i think you should have no fear

of cooking. you must be a fearless cook and the more you cook, the easy it is and more fun it is. that warmth, feeding the people we love that gives me a sense of i belong. >> cooking is about bringing people to the table. and surround yourself with people you love. that's how you connect with each other by sharing food. >> it really tells us who we

are. >> pasadena was like paradox. my grandparents had this big rambling house. we spent the entire time in gardening. it had avocados and lemon trees, it was beautiful. she was the oldest of three children. >> there was julia and john and my mother, dorothy. we used to hang out on bicycles and roll over and we just had a

good time horsing around. she was 6 feet 3 and john was 6'5" and my grandmother was 6'5". my mother came from new england. we grew fresh peas and mashed potatoes. nobody discussed food in a great deal because it was not done. >> in that society, there were proper things you talk about and things you did not discuss. anything about sexuality and you did not discuss politics and definitely did not discuss money with people. she told people that she was middle class. they had to be really wealthy. the fact that she never cooked.

i don't think her mother cooked. i think the cook cooked. >> i was not preparing myself for anything. i was leading really leisurely butterfly life. i graduated in 1934. my mother became ill. she died when she was 60. i went back to pasadena to my

father. >> julia's father was very strict and conservative. i think julia loved him very much but it was hard to get close to him. her father really believed that she should come from upper middle class and well-married. most of the women in julia's circle was getting married and she was not. she was always a bridesmaid and never a bride. >> julia's mother wanted her to married the los angeles times family. julia did not want to do that. >> she was proposed to but she

declined. >> julia stood up to her father. >> she had these romantic dream of what her life may be. she was really pining for adventures. >> america is at war. army, navy and recruiting stations, everyday new legions are being called to active duty afloat and ashore. >> up until world war ii was when everything changed. everyone was starting to do something and wanted to get into help or join the army. >> i ended up doing office work and we got into the strategic services, the oss.

i didn't want to be a spy 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 top secret files as a clerk typist. >> the boys began to recoup people to the far east, so i volunteered. with julia, world war ii made a big difference. it was freedom. she never looked back on the conservative, the married life she had lived until then.

>> that's where i met carl. >> charles was in charge of maps and diagrams. paul did not go to college. he was self taught. he was have a, very bright guy. >> paul was ten years older than

john julia. he experienced life in a way she had not. after sri lanka, they were posted to kumming and china. she felt she knew so little about civilization and just

enjoying the world. ♪ paul was a gifted photographer. he gradually introduced julia to art work and the way people lived and to food. we were able to go out and eat in the restaurants and that food was delicious.

so it was a revelation call that opened up and now the world -- >> can't imagine what it must have been like for her to discover food and love and everything else all at the same time. what a joy and life it must have been for her . >> unconditional signaurrender,

the return of happier days. after the war, we went back home and decided to get married. we had a wedding. paul child and john mcwilliams were at either end of the spectrum. julia's father would dismissed paul as a liberal who cared about food. >> julia's father was very republican. when julia paul, she became a democrat. her father was what -- that's not supposed to happen. >> after the war, he was sent off to work to paris .

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it goes through this beautiful place, i was excited to see ancient buildings and churches. i remember at la couroune, it was my first french food and i never got over it.

>> first, you need a big soul. when it starts to bubble, you put it on both sides. >>. >> it is absolutely delicious and one of the finest things in life. >> you just add very few salts and some drops of lemon. it is just a fish, but it is seasoned in butter. it is perfect. >> she said viola, i found my

way with the salt. >> it was absolutely delicious. as soon as i got into france and i realized it was all about, that was what i have been looking for all my life. one taste of that food and i never turned back. >> we sat in an old, private house in paris -- ♪

♪ they take food so seriously. the waiter is so interested in what you order. very serious business.

>> she didn't care about fancy things and what a lot of people love about france and all that. she loved the way of life and the food.

summer of 1950, julia invited her father and stepmother to come to france. paul and julie did their best to take a trip around the country and show them a lot of places. john spent a lot of time complaining the french and didn't understand the culture and the food. >> all of a sudden, i would like to do serious cuisines so i enrolled in the cordon bleu.

the top chef and the artistry of cooking. you have to understand that french looked to their cooks as artists. >> i had classes for the gi on the bill of rights. >> because of the gi bill or the soldiers would have to come back from world war 2, had the right to go back to civilian life. julia and 11 gi trained by a fantastic chef. she was the only female with the 11 gis. was she going to be serious and could she be a true professional? >> in france, cooking was as world of men .

>> in my youths, a woman can't be a chef because the chikitches for men. utensils are too heavy for her. >> it was fascinating to see how much there was no learn. the more i got into it, the more i loved it and the more i appreciated it as a true art form. >> you can spend your life over.

it is like a music, you have to know your fundamentals, sometimes you can play with it. >> it is hand work you have to develop. all of that takes practice. really requires every as expect of your physche and your imagination. nothing was trouble. you can produce beautiful results. >> and going to the cordon bleu at 7:00 in the morning and i would rush home and prepare a fancy lunch for my husband,

paul. ♪ ♪ >> the note of the love affair with paul was honest. he was smaller than julia but he was looking at her with eyes.

it was like how is the pigeon doing and paul was looking at julia. he was in admiration for his wife. s cooking is an expression of what you learn and see and what you smell, what you are able to do with your fingers and when you cook, you give your love. it is more than to feed your body. have pleasure.

>> with julia and paul, they read between lines and maybe he comes home and make him a great lunch and they go to bed everyday. >> julia's advice for a good marriage was to maintain the three f's, you had to feed your

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party. she was a very good cook. they became immediately good friends. i had american friends who wanted to learn cooking. cinco was and she had her colleague and friends. we started our own cooking school in our kitchen so we can have six people. cinco had been doing a book on french cooking for americans and they needed an american collaborator. >> we needed american view and

attitude. >> we started writing our books so we replicate it here. >>. >> cinca was a willful woman. you don't do it like that. no, that's not how you do it. you do it like this. she's like a police officer. . >> cinca was not an easy woman nor was julia. they both haves strong opinions. i started quite late when i started cooking. i found the recipes in all the books i had were not adequate. they did not tell me enough. i felt that we needed fuller

explanations so that if you follow one of those recipes, it should turn out exactly right. >> they would try recipes again and again to make sure they'd work. >> julia was quite scientific, she was kind of like a chemist, doing the experiment over and over again until she get it right. >> she didn't know how to take shortcuts or do things by half measure. >> okay, it is not working this way, we'll have do it all over again. >> do it all over again. >> they offered us a book so we were delighted. >> then paul child -- at the time, we didn't have the means we have now, e-mail or anything.

so it was all by mail. cinca would tie recipes and 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 and she would send one copy to my mother to test out the recipes as an american house. >> her direction was though she was standing there in the kitchen with you and holding your hand each step of the way.

>> the book was finished. we sent it to houghton mifflin. they rejected it. >> they said to her, nobody wanted to read this and treat us on a french cooking. people want a mix and stir cook book. cook books they would not go deep in terms of explaining recipes. julia's book was a different proposition than anyone they had ever seen before.

>> that was very disappointing to have houghton turned it down. she had great hopes it was going to take off. >> at the same time paul was deeply frustrated with the b bureaucracy and the politics in the u.s. embassy. he was called back to washington and accused of being a communist and homosexual. the accusation was untrue, he was furious. he ended up taking an early retirement. >> paul didn't have a career at that point. i think they were miystified as to what they do. >> an elder by the name judith jones, got the manuscript and

read it. r judith needs to convince the publisher that this is as book that has muerrit. julia's passion led them to believe this is a book they should take further. >> the title they arrived at is "mastering the art of french cooking." when she presented that title to alfred, he says to her, if anybody buys this book, i will eat my head. >> the book came out, simca , came to usa. at that point, at 1961, i don't

think there were many book tours. we decided to go around the company and printed the book. i was in boston. i made an omelet. and that's how the cooking show started out. >> from the first time she appeared on that show, julia was different than anything on television. >> on television, women who were part of the window dressing, young and attractive and sexy way or everyday housewife type but a housewife on steroids because nobody dress like that in reality to be in their home. you certainly are not telling people what to do or teaching in any kinds of way. they were objects.

>> the tradition was essentially that only the men were important. women were to be in their place. they were told stay-at-home and be docile and forget that you ever had a brain. >> well, we started the french show. i think i was paid $50 a show as an experiment. >> the station's executive wanted to see if this thing will fly. they said not everything we try is successful. only from discover.

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. questiowe had no studio spa the show. and the boston gas company came to the rescue and said, we've got a demonstration kitchen. it's got a nice flat floor so you can roll your cameras around on it. >> wgbh was wild and woolly. everything was pretty low budget. they scraped by month to month. >> only with this bus crammed with equipment can we record on the spot reports for you. >> most of the major programming was done out of a mobile unit that 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 d 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 a bean. >> she had to devise an outline of points that she wanted to cover, but she didn't memorize anything. she prepared her work meticulously. she would type these things out single spaced, two or three pages of what happens after this and after that. >> and 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 just really 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 thicker.

>> she could ad lib endlessly. >> it's a smaller amount of vinegar in the beginning. by about this time, it will be so thick. in that case, we thin it out with a little lemon juice. >> i had the young producer ruthie lockwood. she had a very good sense of drama, and she always said, you want to come on with a bang, and you don't want to go out with a whimper. >> 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 bouillabaisse today. >> it was often just one dish so we could really go into detail. >> he had to have food in different stages ready. the rod 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 touched the stove, the microphone with go -- >> if paul wasn't busy, he'd 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'd find that i didn't have any feeling for time, and they're just galloping through it. so we changed the system of having idiot cards. >> i had little signs that said "slow down" and "speed it up." the producer, it bothered her that julia would be dripping sweat into the various dishes she was working on. i would hold the sweat thing, and julia was supposed to mop her brow rather than continue to pour. everybody 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 then again at the end of the day. >> and how is the food? >> delicious.

of course. >> when you hold your knife, you take your thumb and forefinger and grip 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 of trying to teach the proper way of doing things. >> and your knife knocks against your knuckles as you move your finger down like that, see? >> because it makes all the difference in the taste. that's what gives it the lovely french taste. >> she really got across what was the essentials of the dish. >> just 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 could 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, and some people are terribly afraid of it. >> at that point, people weren't very adventurous. the general public had 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. no, 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. but you can always pick it up if you're alone 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. >> anytime 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 who has been in the kitchen knows that awful things happen all the time, and you just have to make do with whatever happens. >> this is a maximum security oven. it's not to be opened for 25 minutes, or everybody will be court martialed. there's a souffle in it. >> watching educational television has to be entertaining. it can't be dull. >> here it is just 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. the fact that she was so theatrical. >> you just beat it. that's all you need. i'm already 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 that they never had before. >> the inimitable julia child.

>> 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 child cook. and of course sales of mastering absolutely soared. julia really started the whole love of cookbooks and the whole desire for publishers to promote them. >> mm. i think i love you. it's good. >> it was a surprise how it took 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. [ applause ] >> tell me something. 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? >> hungry, yes. looking forward and salivating over what you're about to prepare, i think is very important. >> i find there's a sensual pleasure in handling food. does that mean i'm odd? >> i think 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 when people were ready to go into some more interesting cooking. >> the kennedys were in the white house when i started out. >> mrs. kennedy

[ speaking foreign language ] >> they have their wonderful french chef rene verdeau. everything was news. when they did the food, of course, it became news. >> america was looking beyond its borders. it seemed to be a moment where we were ready to embrace culinary horizons. >> we were ripe for a change, and there i was. >> today we're going to make chocolate cake, and it's a very special, very chocolatey 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, spellbound by what she was saying. >> people could relate to her. i learned how to cook at my age, and you can learn at your age to cook as well.

>> cooking is -- lots of it is one failure after another, and that's how you finally learn. now, shatter it 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, boeuf bourguignon. >> we would watch julia's show with my grandmother, 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 on to julia, and we began cooking her things. >> she was giving the 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. >> this 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 appetit. >> in france, julia has no reputation at all. mastering the art of french cooking was never translated in french. when i talk about julia and

simka, no one knows. there's no trace of their work. >> simka, finally. >> so we're going to make the special party platter. >> i remember once asking my aunt, does it hurt you that she's so successful in america? she simply replied, "she's a business woman now". >> you could even use a piecrust mix, couldn't you? >> i'm french. i hate the mix. >> when julia and simca wrote mastering the art of french cooking, volume 2. julia felt that 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 hierarchal. it was julia child 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." that unrolled 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 content. >> you better have one of these food processors because then you can do it all by yourself. >> tonight's show features two great cooks. jacques papon, who at one time was the personal chef to charles de gaulle, and julia child. >> we're going to start with some shrimps, weren't we? they're right down here. >> are you going to saute those in there. >> i hate to admit that i just cut my finger before. i'm going to let you do the sauteing. >> ten minutes before we start, i had a paring knife and julia

took it and cut the end of her finger off. a big piece like this. so i push it back together. it was all by the skin. i push it back together, and i tie a towel around. what are we going to do? julia said we're not going to do anything. jacques is going to cook. i'm going to taste, and the show went on. >> you want the whole orange cut into pieces. >> after the show, we won't to the hospital. she had five sutures. the day after, she went on the johnny carson show. >> did you do this in the kitchen? >> i did this in the kitchen. >> excuse me for laughing. i thought good cooks were not supposed to do that, julia. >> i don't know. i cut a good piece of my finger. >> did it go in the preparation? >> that wasn't part of the recipe. >> i see. >> i'm julia child, and i'm going to make a homemade 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'm glad in a way this happened. oh, god, it's throbbing. >> she had a copy, and at dinner parties at her house, she would show the dan aykroyd tape. >> it was very funny. we loved that. >> why are you all spinning? oh, i think i'm going to go to sleep now. bon appetit. >> 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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on to the buffet for 19. >> even at the height of her fame, she didn't become 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 that 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. well, 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. and when the news goes on, i start dinner. the make 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 that 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'd 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 you used the wrong word or 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 pieceky, and that's what he responded to. >> he's a one-man artifactry. he's a painter and a photographer, and he can make

furniture and do just about anything. and 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 was very organized, made sure that julia had everything that 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 need anything if i worked with him because he's been a wonderful support 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 have 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 could throw myself into work. >> i want to do this very slowly. turn it over. 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 thought he was going to lose julia. >> julia was very stoical about it, and 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 was that. >> i'm perfectly fine now, and thank heaven 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 child. [ applause ] >> you go at things in a rather fearless manner, and it just shows a very 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 events 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 steverson's 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 abortionists planned parenthood. >> they say they're going to picket every memphis appearance made by the culinary queen. >> she risked her own celebrity, her own reputation to associate

herself with an issue that some people 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 had the planned parenthood in the schools, we wouldn't have to have abortion. >> when julia had deep convictions like that, she was unflappable. >> the 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 knew develop cuisine of underdone vegetables. then you can't eat them because they're practically raw. >> she was defensive. she'd 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.

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vote for democrat tony thurmond. he's making our public schools work for all of us. and action. >> give me the wide shot. >> 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 here 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. they 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. >> and so she went to work for "good morning america," abc's commercial show. >> that's tomorrow on "good morning america." >> this morning, julia child is back with us in our kitchen. >> 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. >> julia was an incor imageable

flirt. >> you say tomato, i say tomahto. >> i don't say potahto. >> here's this 75-year-old woman that i'm talking to or on into her 80s, and yet she's flirting. she's making you feel as if what you're saying is just the smartest thing she ever heard. >> if you were to invite me to your home for the holidays -- fat chance, but if that were -- >> well, i would. >> i'd love to. 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. have you? >> yes. >> we say in french -- [ 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. the other one loved women, you know. you know, it's life. >> she liked straight men better although the cooking world was 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 of 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 revel tory moment. she would say, who is going to take care of these people? they've got this horrible disease that nobody understands. and 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? because 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 was about 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 take 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. that's -- >> 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. >> beautiful. >> look at that. isn't that nice? >> and now the best part of it -- >> is the eating. >> yes. >> okay. >> that's good. >> that's great. >> would friends think twice before asking you to din center. >> just give me a good steak or a hamburger, and i'm happy. >> this is my kind of gal. really, you're not one of these -- >> i certainly am not. i hate health food of any kind. >> julia would cook with butter, a lot of butter.

>> i have 6 1/2 sticks of chilled butter. >> goodness, julia. you and your butter, i'm telling you. >> is butter fattening? >> nah. >> 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 was it like to have dinner at julia's? >> wonderful. >> once you got there, you really got cooking. >> that was the entertainment. >> we all were given tasks before dinner to get it ready. and if you were using a knife the wrong way, she'd come over and show you how to use it the right way. >> oh, she said, i got a roast beef from her wonderful butcher. ♪ >> she trimmed the fat. she slashed it in diamonds so the drippings would escape.

she roasted it medium on the outside, quite dark pink for the rest. ♪ the potatoes, you cut in big chunks, blanched them, scratched them with a fork, and they'll absorb more of the dripping, and so you'll get a lovely crusty outside. and gravy. there will be all those nice juices in the bottom of the pan, and you add two or 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. ♪ you know real chili never has beans. you know which pizza is eaten with a fork and a knife... and which one is definitely not. you know a cappuccino is for the morning

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

provence. you smell the olive blossoms and the wild herbs. it's the most lovely country. >> she really loved france and the 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 mini stroke. >> it left him with what he called scrambled brains. here's this guy who is 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 traveled, 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 haviing 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? you know, 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, and i'll be back in the morning, and a lot of excuses. 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 -- she didn't know that anybody knew or heard or saw. >> you know, 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 in 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, till i drop probably. we're going to start out with a stuffed, roasted turkey. here you are. >> julia redefined age by example. when she was 87, she launched a 22-part series with jacques pepin. >> happy cooking. >> bon appetit. >> in classic julia fashion, she had a detante with pbs, and she did a few series with them. >> this is a really good dessert. >> she was 91 when we were

working together on 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 my restaurant, it was like taking somebody out of the tv frame and walking her into your restaurant. >> she created a really sense of excitement about the notion of food people coming together and supporting each other. >> and here's to our chef! >> and the notion that there was an american food movement. >> when i was a little girl, i used to watch you. you could make a mistake, and as a young woman, it taught me it was okay. >> yes. you don't have to be uptight. >> she was driven by the social aspect of what she did. she loved the energy of having

people around her. >> well, that's wonderful. >> will you sign this one too? >> i certainly will. >> age did not stop her until her body really failed her. >> paul arranged all these. see, when you take it off, you can see where it's to go. these copper ones are all when we went over to france and paris in the early '50s. i think people enjoy seeing things like this. this was before the food processor. you would go like that. well, the trouble is you can collect so much stuff. >> julia child died today. she was 91 years old. the cooking icon, who

demystified french cuisine and brought it into american kitchens. >> she changed everything. we need to tell how important this woman is, was, will be. >> how do you know somebody's influential? go to the home of people that love cooking and tell me which book you see on the shelves. and the book of julia child is the one that keeps showing up. >> julia really paved the way for this incredible moment of food and pop culture, making this very domestic profession something extremely popular. >> all right, we're here! >> we've got eight tablespoons of butter. >> they're green beans. >> stand back. whoo! >> a lot of us write cookbooks and do tv as julia did, but she got the train out of the station.

>> chefs, we used to be in dark kitchens with not a lot of light, usually in the basement. julia said cooking should not be relegated to a back corner. if today young generations have this love for food and instagram and twitter, without a doubt, julia planted that seed that now we're seeing the fruits of it. ♪ >> in this stew, we don't want sliced mushrooms. we want quartered mushrooms. we just cut like that. we're going to saute them. it always takes a little while. you just have to be patient and wait. >> one of the first programs that we ever did was the single take of boeuf bourguignon. >> and the sauted mushrooms. >> she started with the raw

meat, and she finishes with this lovely stew. that program, recorded way back in '64, was still playing somewhere on some educational television station for 50 years. >> this is julia child for "the french chef." see you next time. bon appetit. ♪ ♪ i don't want french fried potatoes ♪ ♪ red ripe tomatoes ♪ ♪ i'm never satisfied ♪

. the war in ukraine is the largest conflict in europe since world war ii. the russian invasion to overthrow ukraine's government and take control has become a grinding war of attrition. tonight we want you to see the war through the eyes of one ukrainian mother. her name is elena. she's 36 and lives in kyiv. she was a tour guide before the invasion and posted videos about her life and country on a youtube channel she called "what is ukraine." when the war began, she continued to document her family's experience sleeping in a basement shelter, never knowing if they would survive through the night.

>> hello, ladies and gentlemen. this is your guide, elena, and all our family. katya. teras. and over there, derina. >> elena lives in kyiv with her husband and their three children. it's two days before the russian invasion. the u.s. is warning an attack may be imminent. like many ukrainians, elena doesn't think russia will invade. >> you know, everybody right now is following the news in ukraine because basically we don't know what is going to happen. yes, and of course there is a lot of anxiety in the air because like right now, at this moment right now, today, everything is absolutely fine. but i don't know and nobody knows what's going to happen

tomorrow. >> the routines of daily life in kyiv continue. in the afternoon, she takes her 4-month-old daughter, derina, to pick up her other kids at school. katya is 7, and horace is 5. as night falls, they head home. >> my neighbors are at home. it's not like everybody left kyiv because they are afraid of the russian attack. teras, hello. >> the kids tell elena their teachers have prepared a bomb shelter at school.

>> everything is fine there. that's what they believe when they go to bed. >> my biggest wish is peace in ukraine. thank you for watching. have a peaceful day. good-bye. [ siren ] >> i tell you what, i just heard a big bang right here behind me. i told you we shouldn't have done the live shot here. there are big explosions taking

place. >> there were explosions in kyiv, kharkiv, dednipro, odesa, mariupol, and other cities across ukraine. the first explosions in kyiv around 5:00 a.m. wake elena and serhei in their eighth floor apartment. >> i don't know what's going on but i'm very disturbed because we basically heard explosions, and we heard i think military airplanes flying. so we woke up, and we are -- [ baby crying ] >> shh. >> they get their kids dressed and go outside to a pedestrian tunnel. there's no bomb shelter near elena's apartment. >> okay. so we are at our nearest shelter, which is this underground tunnel. we can hear -- hello, guys.

how are you? fine? i think i need to talk to my husband and decide what to do next. do we stay here or go to subway station, or we drive away or come back home. >> as day breaks, there's heavy fighting on the outskirts of kyiv. russian helicopters attack an airport north of the capital. russia intends to use it to fly in more ground troops and quickly seize control. russian airborne troops with white armbands engage in intense gun battles with ukrainian forces. >> inside. in here. in here. >> focus. should we have gone that way? >> oleyna has found shelter in the basement of a building not far from her apartment. this is where she and her

children will sleep from now on. >> me and my family, my children, we are in the bomb shelter. here they are. >> hello. >> and we hear explosions, and it sounds like they are very close to kyiv or already in kyiv. >> fighting around kyiv continues throughout the day and following night. >> the ukrainian military is vastly outnumbered. >> the u.s. is concerned that kyiv could fall into russian control within days. >> there's definitely a david and goliath element to this even as we are seeing ukrainian forces fighting so hard to defend this capital of nearly 3 million people. >> we hear explosions in kyiv very close to us. officially the mayor of kyiv, he said that there were five, six explosions at our -- how to call it -- electricity station.

so they are coming, but we will resist. as you can see, people keep calm, but of course everybody -- everybody's very much worried. very much worried. and, you know, we ukrainians, we will protect our capital till the last blood. >> nobody knows exactly what will happen tonight, how things will play out, and what this city will look like in the morning. >> there are rumors president zelenskyy may flee kyiv. that night, about six miles from olena's basement shelter, the president makes a video to rally the nation and assure people he's staying. [ speaking foreign language ]

>> in the morning, against all odds, kyiv is still in ukrainian control. >> so the latest update is that we are alive. i am alive. this is derina. she's sleeping on the floor, and some other people in the shelter woke up. it's already morning. it's like 7:00 in the morning. teras is sleeping over here. it's very important that we survived this night. now the day has come. you know, at night, everything looks much more scary for people. so as you can see, even many people left the bomb shelter right now because it's more than

7:00 in the morning. >> many in kyiv are leaving. long lines of cars clog the roads heading west. train stations around the country fill with families trying to get out. olena decides she and the kids will stay. >> i feel safe here. the chances for us to die here in kyiv are equal to the chances for us to die on the road. so we are -- and another thing. i want my children to be alive, of course, but both physically and spiritually. i want them to be strong. i want them to be free. >> olena's husband, ser hey, brings supplies for his family. he's volunteered to fight despite having no military

training. he leaves quickly to rejoin his unit.