you actually used to produce this program. what year? >> 1984, my first job out of college, to 1989. >> you were an early producer of book notes. >> i was the first producer of book notes. >> explain what your job is now. >> it is a product of what i went through here. i am a filmmaker. i make mostly documentary films, hosting -- international events and characters that i find that have stories to tell,

and provide a window to the outside world for a general audience. i look for stories that are compelling and relevant and speak to me personally. i have some feature documentary, 1.5 hours in length, for hbo and for pbs over the years. >> we've not talked about anything so we're going to catch up. we've got stuck. that they're going to see here. where shall clip from the rwanda documentary in 2004. it is very self-explanatory. >> i saw the soldiers come in and they started shooting and shooting. we had to defend ourselves with rocks. and our local governor stood in

front of us, and i wanted to know what they were there for. everyone there should be killed and that no one should survive. then they started killing, kayaking with their machetes. i was hiding under dead people. they did not kill me but there was blood covering me. they thought they had killed me. >> it was as if we were taken over by satan. you use -- you lose your mind. we were not ourselves. you couldn't be normal and start butchering people for no reason.

we had been attacked by the devil. >> it was very late when she came back. he was shaking me to see if i was alive. he said, this thing is dead. and so they left. i lived among the dead for a long time. at night, the talks would come to beat the bodies. often they would eat someone next to me. i threw something at the dogged he ran away. i hid in a small room. that is where i stayed and slept for 43 days.

>> where were you and all of that? were you talking to her? >> yes. today it is incomprehensible when you watch it. how did you get into this and how many people were machete to death in rwanda and in what year? >> it was 1994, and it was about 100 days, probably 800,000 people were killed. an incredibly systematic way, organized by the government at the time. how did i get into it? through a friend of a friend. i knew a guy who had worked in you've gone to making another , among theuganda

tribe that had been targeted. i went there a couple of years afterwards and it became -- got under my skin. i became fascinated with the nature of evil and how people respond when confronted with a vote people and institutions. that is a clip of out an amazing young woman who survived. it is about how law -- how all of us responded to the horror of that placed there and how the international system, the political system that calculated, logical decision to do nothing. and it was in the best interest of the united nations and specifically the u.n. security council, the u.s. specifically, to take no action. that question haunted me -- how is that possible, and on a deeper level, how what i have responded that they had been in a level of power? what if i'd been one of those people seeing that? most of us did not know how we

would respond to those moments of crisis until they happen and then archer nature is revealed. >> who is the other fellow? >> is one of the killers from that village. >> how did you talk them into recalling all of this? >> along process. the woman had been interviewed by an nbc reporter who was a partner on the project in the weeks after the genocide. they had made a film about her so she was known to the production team. there is a whole team that works on these with me and i did not want to take all the credit. but it is building trust with people. what i found is that that guy him, they wante to tell their story and find meaning in that, even if that is

just the way to make sense of it to themselves and offering a cautionary tale to others. the stories i heard in rwanda is that they are not just stories that are particular to rwanda itself, they are human stores. they transcend that one country. but the same kind of stories we heard out of cambodia and nazi germany, how ordinary people are suddenly able to do these terrific things. >> how long did you spend in rwanda? ? "ghosts of rwanda"was a product of about seven years. i became a obsessed with it. i was going back and forth on my vacation for a long time. you can get on that blacks -- you can get it on netflix and it is in the library and video

stores as well. >> you have one from a u.n. worker. who is he and this shows that one. someone being machete but it is that a great distance. >> he is a guy from a small town in pennsylvania who was a football player in high school and college to what it could be a hero. he went off seeking adventure and he worked with u.n. relief agencies and ended up in rwanda working for the u.n. before the genocide began. there was a big u.n. peacekeeping operation there. he found himself tested during the genocide on a deep, personal level. he was my first way into the whole story. when i got to rwanda, i had a feeling that there were people who did amazing things and their stores had not been told.

i was asking around and say, was there anyone from the u.n. who was here at the time and is still around? finally someone told me about him. i went to see him and he was still there. i said, i hear that you are hero. he said, no, i am not, but i knew a guy who was. and he started hearing what. if the true hero that he wanted to be was a single lease peacekeeper -- sengelese peacekeeper who went out against borders and save about thousand people. that was the beginning of the seven-year journey. >> each day, he delivered food to save havens in the city and learn to navigate the

roadblocks. >> i started as early as i could in the morning. we try to finish as early in the afternoon as possible, because they had been drinking and intoxicated and that one atilt and wanted to kill more or they had not and wanted to kill. killing was like a drink. you took one drink and you wanted another and another, you wanted to become more and more intoxicated. sometimes people killed once and then to lessen the impact of that murder on their psyche or their conscience, they kill again. and then they kill again, and then each murder drive you to kill again, not so much that you forget that you have killed before, but you have killed and

it just becomes part of you. you have to back to kill and kill and kill. [machine-gun fire] >> four weeks into the genocide, the red cross estimated 300,000 rwandans had been killed. >> with the video of the bodies come from? >> the driving shots came from a free-lance reporter who was there for reuters at the time, i believe. the shot of the killing is the only shot that we know of someone actually being killed, and that was shocked from a rooftop. the organizers of the genocide -- the organizers of the genocide were very careful that the killing happened away from foreign media.

the drive by stuff, we counted in an archive in nairobi. there was not a lot of interest in the rwandan genocide on the part of western media. there was some, it was covered, but it was not covered as easily, not really. a lot of the original footage just got -- was never fed back to the news headquarters either in new york or atlanta or london. it was still out there in boxes, really not ever watched. and we have to look through it. >> i want to make sure viewers know, we're talking about technique as a long way from tragedy. it's the way the film is done. part of that is how to tell a story and that is the reason we're doing this. what impact did doing in rwanda have on you personally? he spent seven years there. what is left after all this?

>> i have not watched that -- i have gone to a couple of screenings, but it had a huge impact on me. how was immersing myself in one of the darkest episodes of martin history. -- of modern history. that was a very draining experience. during those interviews was really training. and then the last one a few days before we finished, that was the only time that i went and locked the door and just lost it. but it is about technique as well. this is a complicated, bazaar, uncomfortable thing about storytelling and filmmaking. i ask people to reveal themselves to me, their most

innermost secrets the most tragic moments that they have lived through, and i am taking that footage and turning it into something that is watchable. i hate to use the word entertainment but it has -- it has to work as a story. it is a -- you have to look at it as a hard, rational way and see what is working and what is not. what rwanda, i think i can make any of them after making that, and i think it has given me hope, really. immersing myself in that story, what comes out of it is that in the worst times, they're people who do amazing, amazing things and to face that moment of truth and somehow find the courage to do the right thing, usually at great risk to themselves and to the people that they love.

and within that i found deep inspiration. i am looking for those types of stores where people face moments that most of us are lucky enough to avoid. >> what to something like that cost? in that was $1 million. >> who paid for it? frontlinewas paid by and bbc, a lot of shared material. the was paid for by public television money. >> how many people would be involved in making that happen? >> and the greatest sense, upwards of 100. a core team, i will have about five or six people on my team, but then we engage lots of translators and people for parachutes. it is a big operation. judy you can get it on pbs.org.

>> this is one from "the survival of saddam -- "showdown with ron." >> we went to see how it found itself on a collision course with the bush administration. outside friday prayers in downtown tehran, of possible war with america was on everyone's minds. >> [inaudible] [unintelligible] >> inside, the leading sermon was about america and iraq.

that day the same storm and was read in every town across the country. anti-americanism is one of the regime's founding principles. it is turned the former u.s. embassy where the hostages were seized back in 1979 into a kind of museum of grievance, accounting decades of u.s. meddling and are ron's affairs. in the main stairwell, a mural depicts the latest perceived grievance -- america's actions in the middle east since 9/11. the mural begins with hollywood, run by jews, the control been leyden, who worked with george bush to attack america.

it is a conspiracy theory that the current hard-line government seems to encourage. >> i guess you are disputing with him and he did not buy it. >> is crazy. the thing is, of ron is a very complicated place and there is that element to iran, but it is a sophisticated culture there. i went in with an open mind. clearly he did not know what he was talking about. ,t's repugnant, those murals but at the same time, there's a lot of fascinating people in iran inside and outside of government who will have

inform, sophisticated discussions with you, off and saying things to you that they cannot say publicly. that was done by frontline. >> how did you get into the country? this is 2007. shouldn't we went in in 2007. it was interesting. we could not get in at the time. there were not letting any foreign crews and. we kept saying -- they kept saying, no. the ambassador did not want anything to do with us. we got in and by meeting in the middle western country a guy who i believe was an organizer for zero local iranian a mosque. he was with the revolutionary guard and that was my sense. we convinced him that it was a good idea to let us then. and in the end, they decided to.

but i said to them is, most americans do not understand the history of our ron's revolution. i want to tell the story. how'd you guys see the world and how to use the it since 9/11 and also since the invasion of iraq? we want to understand that. i want to be the hard-line, not just people who are opposed to the regime. i want to meet the supporters. i think that is ultimately the reason that the lesson. >> were you in the room when the ayatollah was speaking to that group of all man? any women? >> the women are there, but they are in a separate place separated by a curtain. >> anyone look at you when they were saying death to america? >> yes, but they will be very friendly outside.

how much did they believe it? some do. i never felt like they really meant death to me at all. on the contrary, i felt like it was a reasonably safe place. >> some americans to go dhahran in up in jail. did you have any security protection? how many people were with you? >> two. i breed the sigh of relief when the plane took off because you just never know. just a couple of weeks before we arrived, there were people who have their put it confiscated and they were leaving the country. i just felt like we were there. they wanted to tell a story. and they do. i would put my own perspective on it and all of that, but i felt like they wanted the story

to get out, and that's what we would be ok. i think anybody reporting out in the field has to go through that process when you're putting yourself at risk. that was the calculation that i made. >> in preparation for having you in that chair, i looked up and narrator -- that fabulous voice. do you know him? >> is fantastic. >> a fantastic actor. >> is a great storyteller and a really smart guy. he does this amazing job. it's a really nice guy and it does not actually sound like that when you sit and talk to that. he has a deep voice, but not quite that voice of authority. an amazing experience when we went through rwanda together. usually i give them a script and you prepare some. he had never seen a thing.

he had just the script, and their sections of six minutes with no narration. usually we just get over that period at the end, he was emotionally drained. he'd tell me when it went out. he said, this is why i did this work. he is a phenomenal talent. >> when you're at this network, if you are i have to go lucky guy. has this all changed your overall? >> i hope i'm still happy go lucky. >> i am sure that you are. this is some heavy stuff. >> i have found myself drawn toward stories of the human condition and moments of crises, because i think there revealed truths about humanity and the individuals. i am happy guy, but i think

that we have to look at what is out there in the world. can i try to tell the story. >> where did you grow up? >> california, my dad was in the navy. to in what places? >> born in monterey, but in san diego was a boy, and with a high school outside of los angeles. >> where did you get your education? >> ipad ba at george washington university. and then i got a master's in london in international relations. >> when you came here in 1984, did you think that you wanted to do this? >> no, i wanted to do some kind of reporting were producing, something, but i was affected by washington and wanted to help. this all developed after rudd went to london, looking around at what i wanted to do next, and

worked with the guy who was one of the top bbc documentary filmmakers. he gave me a job and i fell off words with the mix of travel -- because i love trouble, and storytelling, the artistry of making films, and the education of every new film is like going back to grad school. i'm a generalist. i don't know what about specific things. until i make a film about them, and then i know a lot. >> this is from 2001, another frontline program, and you did two of the three-part series. this was about the a man named gordievski. >> he understood the subject inside. in moscow, then it was closing in.

didn't i decided to use my secret. i sent a signal to british intelligence. >> he delayed projects he evaded his kgb waters and made his way to a forest near the finnish border. >> in the morning, i started to move through the woods. and there i waited. a car arrived with two british people. they picked me up, put me into

the boot, and drove over the border. it was a very small car and a very small vote. -- boot. on the border, we make three stops. >> they were approaching a moment of maximum danger. the kgb decided to do a check of the car. >> i heard the kgb dog barking. uck, there was an accident. >> one of the press agents, a woman, through the box office

sent by feeding the potato chips. >> is that all produced? all docudrama stock. that was a big collaborative project and we have our associate producers direct the project. they did a great job. i think that was outside finland, a bullet. >> did you do the interview? >> not that one. today i realized when i was watching at that he came to this network to to put notes. the only time in the history of the program that something happened and we never aired it. something happened to that tape, back in the early 1990's, and he was wearing a disguise. he had a book out. did you ever meet him? >> know, and never met him. >> it was a six hour series,

about the rise of capitalism and the trouble between state control of the economy and free markets that the find a lot of the 20th-century. it was a big project based on this book. we were trying to bring economics to light, basically. that's what it was. i made the final two powers and half of the middle hour. my mentor and i made the entire six hours together. the pit that i worked on most was telling the story about the rise of globalization in the 1990's and the backlash against it. this is what pbs can to relate well, take subjects that are very academic and bring them to light. i know that that series is used by out of educators.

i studied economics as an undergraduate. it was trying to find a way through storytelling -- you don't actually have to have that story to tell the story of free markets, but it works and it is compelling television. yet -- you try to use this trip to get people to watch and have a message " and the web. >> when we see a credit for greg barker, how much derided that? >> for pbs and for television, producer generally mean something different than it does for the moment for hbo. for that, it means if you are in charge of that. it is run to a production company that i would be in charge of for the budget. produce means the organizational, business side of that. directed means this is where the camera goes in and who is putting it all together.

written means who is writing the script. in the feature documentary world, produced has more of a film connotation. that was bringing the packaging and money together and dealing with the executives financing it. directors are the creative force behind the project. >> where you live? >> right now i am living in california but i spent most of my adult life after c-span based in london. >> what to come back to california? >> my wife and i were sitting around. we had just had our second child. we were thinking about where to edit my most recent film at the time. there was an editor in l.a. that i wanted to work on -- work with. on the spur the moment, we wanted to work in l.a.. we liked it and we decided to stay there.

my wife is a british doctor, and she is a classical singer. >> how all your children. >> six years old and two yourself. >> when was "war of ideas" done? >> 1992, with a much smaller budget. it was a film about arab channels. frontline ask me if they would be interested in doing that and i was fascinated. trying to figure out how to -- how unused channels like algeciras and others operate. i went to all of them over a couple of months. i also try to look at -- it was the bush administration. how the u.s. government tries to

shape the message that these channels are conveying to the arab world, because they are widely watched. he had an idea and our mind about what their agenda is. part of that is true but there is also the reality. >> al hura is owned by the? >> u.s. government. to get out to zero -- >> al ja zzera is owned by? >> the government catarrh ultimately. -- of qatar all the valid. >> i went to route to seek the arab media revolution in action. the leader of the as long as the love party asserts is authority.

i was curious how washington's channel covered hezbollah, one of america's foreign enemies. at a desk rented from the associated press, i found al hura's . cheap. she got an anonymous text from hezbollah. >> you are interested, what is the important speech at 1:00 and 30 today. wishing you a beautiful sunday. i don't know who the person is sending this to me. >> we agreed to meet later. i wanted to see minar tv, the hezbollah channel. we were taken to a secret location. >> they are really tight about security. >> israel had tried to bomb them

off the air and had failed. >> they want to make sure that we do not know where they are. >> what are you watching? >> hezbollah says that it is a station of resistance against the zionist enemy. >> people have called. i would ask you -- can you say that the bbc is neutral and cnn is neutral? there is always an influence between the owner of the media and the people who work there. >> how derecognize the truth? >> you will never fully know

true. you know what you see, you know what you think, and you know how you got to that conclusion. and you know paul said when you see it, i think. >> in the middle of this, whether they getting? >> they are getting propaganda from hezbollah, that is what they're getting. >> when they watch al hura, what are they getting? >> they are getting off former propaganda from the u.s. government hezbollah was say is biased as possible. the administrators of it having a certain agenda. >> our taxpayer money goes to al hura. >> their several people here that used to work there. there's some people can go there on a free-lance basis. u.s. pbs doing this.

as you watch, you have been in all these places. when you hear this guy say that cnn has a point of view, do you agree with that? >> if you take a pay -- a big picture view of it, cnn has an american network that will protect and americans view of the world, not an american government you, but will be different to how does arab -- al jazzera. >> the most watched channel remains al jazzhera. so far they would not give us access. after weeks of phone calls, but finally agreed. >> thank you so much for calling back. i was really getting desperate.

back to the beirut bureau, by far the largest in town. states just heard the prime minister was about to respond to hezbollah's demand that he resign. >> >> her reports during their recent war made him well known across the middle east. she is lebanese herself, and says that objectivity is impossible, a special -- especially about israel. >> you know all of the political problems. it is difficult to beat neutral. that is something that i think about all the time.

[unintelligible] it was not with hezbollah, but against what israel was doing. you cannot have another position in a situation like this. >> you can watch al jazzhera in english. but as cnn correspondent is there now. and rosalind jordan. used to be at nbc news -- is a corresponding there. this is a public television station over in the suburbs, carrying get paid for by virginia state money. if you're watching it, what are we getting? >> we're getting its english

version which is different from the arabic version. it is owned by the same people. the editorial controls ultimately same, but is totally different for the people running a. they hired a lot of people from the states, to produce this thing. when i did that project, they had just launched. i know that there have been tensions within the news rooms over the editorial wind that they have been told to take. on certain issues. on the other hand, there was a guy who was given $50,000 and told to go out and find some interesting stories in the congo because western media was not covering it. i look at their english burgeon, interesting to see how they're covering things. ultimately the editorial control is the same, but it is worth

bearing in mind that that territorial control brussels with american presence in the call. that is the reality of it. and the government has a decent relationship with israel. and israel, the last time i checked, had a commercial -- the middle east is a complicated place. they talk to the israelis quietly all the time. even an israeli hard-liner, he will talk about the meetings they have informally with the iranians through various third parties and all that. the vision that we have a bit which is why it is a great place to report on, there is much more new ones than is ever possible to convey to people through the news media.

>> that show was available for four people. >> i think you can get that on the front line website. if you looked up "frontline" it would take you to the web site. >> this is from 2000, "the survival of saddam," said it up. did you not go to saudi arabia for this network in 1991? >> israel, jordan, saudi arabia, and kuwait during the first gulf war. it was great. and that is where i got my first taste of this kind of experience war reporting. i found it fascinating and that type of people that are drawn to that world. >> someone told me that it took

24 hours to go short distance. judy he told me to take a taxi. like landing in washington, d.c. and taking a taxi to iowa. >> the year 2000. >> i was there in 1999 and this was the late 90's. we will wondering how saddam was still in power. we looked at it to figure out how he had survived the first goal for and also several cia and british intelligence attempts to get rid of him. at the time, we were lucky to get in. i was one of five americans in

iraq a time. it was a very scary place. it was so repressive. i can only imagine what it was like to actually live there. i've never felt or seen which -- such fear in people's eyes just walking down the street. it was a fixed reminder they're all the time, to see them looking at me, see them just being so petrified that they would get petrify for even looking at all westerner. it was a brutal place. >> and how to get in? >> was a biography of saddam, that guy who wrote it was in the film and he had some contact with the iraqi government back in the 1970's. he knew some of the others, and convince them -- helped us

convince them that it was a good idea to tell his story to the western world. >> let's watch this. >> are rising star and an anti- communist party, he once invited visitors into his private library. they were shocked to see shelf after shelf devoted to saddam's role model, joseph stalin. >> when we win and and solve that -- when we went and, saw all those books, he did not know that stalin was a communist. >> stalinism is history.

saddam hussein models himself after stalin more than anyone in history, consciously and deliberately. he had fired the man -- he admired the man. judy he believed that he could control and modernize iraq with stalinist methods. and like stalin, he covered his mentor's office. >> saddam the same is a patient man. he served under the presidency. faithfully and honestly. but in the president became older and older. >> saddam's time had come. >> he was a christian. he speaks english fluently. did you interview him? >> yes.

it was fascinating. he is a very charming guy. i don't think he knew how much power he actually had because he was the face of the regime to the outside world and was considered by many throughout the middle east to be one of the most effective foreign ministers. you had a guy like saddam universally reviled and he was still able to push for iraq said agenda -- push forward iraq's agenda. it was said that saddam would died like his mentor, joseph stalin, peacefully in his sleep unless there was an effort to overthrow him. >> did you try to interview saddam? did you get close to him? >> no, i don't think so.

>> what was the impact of having been in the country after the war? >> one thing that i regretted. we interviewed chalabi, and i remember a big gathering at his office in london. he was passing stories on to some journalists in the room, a prominent british journalist. leaking stories that i do not think were true. i remember thinking, there's something fishy going on here. and i really wish that i have followed up on that. i think there was something about the way he was involved with wmd, there was a way to get into that story before. he was a very charming guide and he went at it this way to charm and journalists. and a lot of journalists were

caught up in that. there was a sense of access. journalistically that is the one question that has nagged at me. >> of personal question. can you survive financially during all this? >> i have. >> on the edge or can you make enough to live a comfortable life? >> yes, you can. i think i'm very lucky that a lot of people release struggle as documentary filmmakers. i at infortunate to go from project to project for some time. but it is not a way to get rich at all. it is something that i'm passionate about and i love being out there in the world telling stories. >> what are you working on right now? >> a new project for hbo about the middle east. >> what is the deadline? >> we may have had done early this year or a bit longer. . the early stages of it. >> did you get paid on a monthly

basis or do you get your money upfront? >> you get paid a fee for a project. there is money up front and throughout. people who finance documentary's know that you need to have -- if you need to eat. >> have you been back to the middle east recently? >> i was in dubai a few weeks ago. >> do you still like to travel? >> it is harder to be away from the family. it is harder to be in l.a., then it was in london, frankly. 3.5 hours from moscow. l.a., i love living out there but it is a long way from the rest of the world. >> this is what got you in front of us again, a lot of attention that you got off of "sergio." let's run some of this and then

you can explain it. >> the country's that had gone to court decided that they had to kiss and make up. let's agree that we all had an interest in seeing iraq stabilize. but send a united nations mission, and much more importantly in a way, but send the most charismatic, the most experienced person in the entire system of consulate management, conflict prevention, refugee care -- you name it. the guy known as a cross between james bond and bobby kennedy. let's send sergio. i ask you personally to take the job. i said, you are the right person for this job and i hope you will do it. >> president bush had met him and rated him very highly. there was differently general consensus that if he could be persuaded to do it, he would be the right person.

>> he never wanted the job in iraq. that week he had just received a phone call from new york for the secretary-general was asking him to go and see him. to talk about what? about iraq? >> sergio and his friends were saying absolutely no. it just got a new job. but the pressures mounted and he clearly became more interested, and what -- and was finally influenced by the stage of u.n. action in 2003. why sergio? >> because in the course of doing the rwanda film, i met

people like gromo alex. the best and brightest of the u.n. -- whatever you think about the un, a lot of good people work there. i became interested in this guy possible light. samantha power's, who was at harvard at the time, was someone i met through the rwanda them, and she had met searching. >> and she works for president obama. judith it was a way to speak to a lot of issues on a personal level, and i saw an amazing story. the film is basically a search and rescue movie about what happens after sergio is headed the un mission in iraq, after that the first big terrorist attack and war, he is trapped in the rubble with another guy after his building has

collapsed. these two amazing american soldiers try to get him out. it's a way of telling the story for a broader audience. i was appointed my career for as much as i loved my job at front line and pbs, i wanted it to longer films. this was a story that hit me on a lot of different levels. >> when did sergio die? >> august 2003. >> did he die in the rubble? >> he died in the rubble. >> but still another clip. did you interview them? >> he is an american academic, expert on refugee flows for the united nations, and he happened to be in iraq meeting sergio on a mission for the council on foreign relations and just happen to be in sergio's of us when the bomb went off. >> he is under the rubble with them. >> he and sergio are trapped a

few week -- a few feet away from each other. >> my memory of it is that i am not going to give them. i am not quantified. -- i am not going to die. i have a lot to live for. you know. i thought -- i thought immediately of my family. >> a decision was made and we all agreed on it and the most important thing was that he was ready for it. they found a rusty wooden saw. i said i'm going to start sawing away. if the pain is unbearable, let me know and i will stop you and -- stop and give you more pain medication. >> i do not remember any of that. i blocked that out. >> i started to cut through his

first leg. i had to separate his screaming from what i had to do because i knew it had to be done. >> even with more rain and being in shock, it was gruesome work. he screamed, and you could have heard the screams in the greens them. we felt terrible but we knew he did -- if we did not do this, he would die if where he was because we could not physically get him out. >> i told them that i would go to the second leg. he did not answer me for a few minutes. i thought i had lost him. what i believe is that the pain was so bad that literally knocked him out. it was probably a blessing. i started cutting into the second leg and he woke up again and he started to moan and he said, i feel that they go ahead

and finish. and i did. assuming he is sitting there without any legs. >> yes. >> how hard was that? >> all of those interviews were tough. he did not want to do the interview for a long time. he did not want to go back there. i think he found it difficult to see it all laid out. i tried to be honest with people about how i use the interviews and their role in the film, and i try to ask the simple basic questions and let them tell the story. that is a technique that i learned here. people want to tell their stories, ultimately, if they feel like you're going to honor them and treat them fairly. that is what i try to do. >> this is for hbo.

>> just premiered in hbo in may. it will be on again and the video is just now coming out through the web site. >> this is a deeply serious program. but you're an intelligent, hard- working man, and i have to show people a picture that you're probably not seen for a long time. in this picture, you can see over here -- mr. parker. tell them what you did in 1984. that is a plus that one around the united states. >> i was the driver, first job out of college. i was hired to drive that costs are around the country for the election coverage. i have a distinct memory of picking someone up at the airport and running out of gas on the interstate during rush hour. i was thinking, all i wanted to do was walk away. but i stated we got a tow truck

and managed to have a career in television. >> greg barker, thank you very much for sharing. >> thanks, brian. >> we cannot move the reinforcing rod so the only way to get him up was to remove the body was panned in the rubble part way up. i had the task of using my combat night again to cut the body in half. so they could haul it. and if you think cutting the lead off was fun, even though the victim was dead, it was so hard work. >> and they finally got him up. i lifted him and said, you're home now. i am going to keep you to my other guy and it will take it to the doctors. the doctors.