>> charlie: welcome to the program. we begin this evening with president obama's visit to silicon valley for a conference on viesh security -- cybersecurity. we talked to ted schlein, cory johnson and david sanger. >> you have the president of the united states talking about an issue that board rooms in this country have not talked about before. now they have no choice but to talk about it. that is a profound difference in what life was like two years ago, three years ago and i don't think it's going to change any time in the future and i think that's what the summit was really about. >> charlie: we continue this evening with a conversation about american sniper with the actor bradley cooper and writer jason hall. >> my test was simple was to be as truthful as we could of telling this man's story.

it was a simple chore. i think you would agree. it's for someone to watch and take what they'll take, but if we could get a kernel of what it was like for chris to be in those situations that someone at home had no idea, that we could translate that experience because that's something we don't know. >> charlie: we continue with the remembrance of david carr, the great media columnist for the "new york times." he died yesterday at 58. >> the consumer is pushing and dragging the world into a new area, and my job is just to grab the back of their shirt and hang on and follow them wherever they go. anybody who tells you, oh i help you see over the hill. you don't know what's coming around. i really think they're full of beans right now because i don't think anybody would have predicted that a company that used to mail you little red envelopes would be changing the future of television. it just sounds preposterous,

when, in fact that's part of what happened. my job over and over again is to be an advocate for normal people, not get caught up too much in the jargon, and try to find a true line, what does this mean to me as a person who is involved in business but more importantly what does it mean in terms of who i am in terms of a consumer what do i have to pay attention to and what i don't, will tomorrow's world will be different than the one i'm living in today. >> charlie: also a preview of bob simon's last report for "60 minutes." >> the tobacco plants first have to be grown for 24 days, then immersed in a liquid containing a gene that tells them to make special antibodies which help the immune system fight viruses, in this case, ebl la. >> charlie: we continue with

the "sports illustrated" swimsuit edition and hannah. >> i played volleyball and sports was my life. being on the "sports illustrated" cover was the ultimate for me and i sort of, when i started modeling i kind of lost a little bit of, you know, my sports that i had in my life i guess, so it was just an alms feeling and i got back to my roots a bit. >> charlie: cybersecurity, american sniper, david carr, bob simon and "sports illustrated" swimsuit edition when we continue.

>> and by bloomberg, a provider of multimedia news and information services worldwide. captioning sponsored by rose communications from our studios in new york city, this is charlie rose. >> charlie: joining me is cory johnson, bloomberg west editor at large and ted schlein capitalist and partner at cofield buyers. i am pleased to have both of them. the president comes to silicon valley to accomplish what and did he accomplish it? >> there's tremendous tension between silicon valley and the white house and the federal government over the issues edward snowden brought to life companies collect data that was

very valuable to them turns out was valuable to the n.s.a. because the n.s.a. didn't ask them for it. that created tension about issues around privacy and retention of data so this cybersecurity issue touches the same things because it touches the same data sets and so the white house is trying to find a way to open up a conversation about what's failing in the world of cybersecurity in realtime as it happens at the same time that the white house and the n.s.a. in particular has sort of raised the ire of these companies in silicon valley nat collect this data. >> but, hey, i think this was something even more profound than that. they had the c.e.o.s of some of the largest companies in the world on stage today. they had some of the leaders of some of the biggest technology companies on stage today, you have the president of the united states that talks about an issue that board rooms in this country have not talked about before. now they have no choice but to talk about it. that is a profound difference of

what life was like two years ago, three years ago and i don't think it's going to change anytime in the future. and i think that's what the summit was really about. >> so what are they going to do, ted? >> what's going to happen now is every board -- for a global 2000 corporation is going to be asking their c.e.o. how secure are we. that's a question in every board room. every board room probably will end up with a security expert on board. the chief information security officer of companies are going to be rock stars in the future. i would argue they will be probably the most highly paid people in corporate america around the world going forward. >> charlie: my question remains, what can they do about hacking? >> fundamentally it's figuring out what the problem is because there are hackers out there trying to make money -- there's more money made in cybercrime in america than drug dealing in america so it's a big, profitable business. there are very smart people with black hats on hacking, trying to

steal money and exploiting the very latest hole in the security arsenal. so figuring out what the holes are and sharing that information rapidly is job number one. but when companies get hacked, the last inclination they have is to be open and share with the world even more because they just shared more than they intended to. there's a difference here. remember the president issued an executive order last year about information sharing and the difference is a nuance that shouldn't be lost. in this one, they're going to limit the liability, if you share your information. i think that's the cornerstone of information sharing. >> that's huge. it is a big difference meaning if you are willing to provide that information after you have been hacked into the common pool for all to use, you won't be liable for that information being used against you as a company and if you're a public c.e.o. this is a really big deal and allows you to tell your people, okay, we can go ahead and share the information

and as cory says, that is the beginning stages of prevention. >> charlie: have we settled the idea of finding the right balance between security on the one hand and freedom on the other and privacy? >> that's an issue the supreme court has been fighting about for centuries and i think will continue to come up in our democracy. i think these are issues that you see silicon valley taking die metrically different approaches. it was noted the leaders of google chose not to come to the meeting yet tim cook at apple is here. apple takes the approach we don't know what your data is we're not going to hide it or keep it. if you look at the number of as much as apple is getting, that's going down as the use of apple is going up. why? because they don't have it. facebook, google, a lot of other companies want to garth every piece of information. >> i think they -- people who

provide cybersecurity technology aren't interested in privacy information. they're interested in protecting the information from being taken. when they conflate cybersecurity with the privacy issue i think it devalues what we're trying to do in the cybersecurity world. >> charlie: what more does the president think he should do in terms of prioritizing this issue? >> part of this new order is establishing another collection agency for the dissemination of information gathering and dissemination of this information. i think he believes that you can go only so far, which is i'm going to insent people to contribute information, i want to make sure the government provides the best and brightles information it can back out to the critical infrastructure so we end up with a good public-private partnership going on, but realize i'm not going to overstep my bounds and think the

federal government will protect all the private networks, but i will tell you there are agencies inside the federal government in the best position to understand what attacks are taking place to which private networks at the time it's mapping and to respond to that if necessary. so we'll forever be linked. >> the anecdote supposedly around thanksgiving, the president wanted to know what was happening to sony and gather people and said can anyone person tell me and everyone had a piece of information and no one had it all, and we thought something had to be done, and this is a reaction to that information. that attack on sony i think was a pivotal moment and to the c.e.o.s they were talking about it, maybe their personal email could have been exposed despite the business threats but that a nation would attack a pub publicly traded company and expose things in email and spread sheerkts that was a game

changer across the world of business. >> we'll now see viesh black mail. this to me was the first indication of cyberblack mail. some of it won't come up to the public consciousness because you will see information stolen and saying i'll ex imroiz if you don't wire me xyz. you will see this by organized crime as well. >> charlie: thank you tell. thank you, charlie. >> charlie: we'll be right back. stay with us. >> charlie: we begin with coverage of the cybersecurity coverage at stanford. president obama met with members of tech industry and law enforcement today. the conference takes place in the aftermath of the sony pictures hacking scandal which u.s. authorities blamed on north korea. also at a time of drift between silicon valley and the administration after the snowden leaks. the president spoke from stanford university earlier today. >> it's one of the great paradoxes of our time that the very technologies that empower us to do great good can also be

used to undermine us and inflict great harm. the same information technologies that help make our military the most advanced in the world are targeted by hackers from china and russia who go after our defense contractors and systems that are built for our troops, the same social media we use in government to advocate for democracy and heimen rights around the world can also be used by terrorists to spread hateful ideologies. first, this has to be a shared mission. so much of our commuter networks and critical infrastructure are in the private sector, which means government cannot do this alone. but the fact is that the private sector can't do it alone either. because it's government that often has the latest information on new threats. there's only one way to defend america from these cyberthreats, and that is through government and industry working together,

sharing appropriate information as true partners. >> joining me from palo alto is david sanger, pool reporter for president's visit to silicon vale. david, we know a little bit about what the president said and did. what didn't he say and do? >> he never mentioned cyber, even though it's what the government is spending billions of dollars on. it's important to the company because they know while the president is sincere in wanting to seal up the internet here, he wants to leave enough chinks in the armor so that intelligence agencies can get in to listen to territories so that law enforcement agencies can get in to be able to attract kidnappers and so forth but also so that the n.s.a. can make full use of the internet to attack other

countries if they need to or to defend american networks with some kind of preemptive attack. >> charlie: what about the issue of encryption? >> encryption is a very difficult issue for the president and for these companies. so the government's official position has been let's get out and secure the internet as much as we can. so tim cook, the chief executive of apple, the executives all at google said we're with you. in fact we're going to mike the iphone and android phones so secure that even the companies won't hold on to the key that would enable the government to get in. that's only going to belong to the user. well as soon as apple announced that this fall, you heard protests from james comby, the f.b.i. director, many of the intel chiefs. the companies come back and say wait a minute, i thought you just told us you want us to

secure the internet. as soon as we create a back door, as soon as we have a key that you have access to, we've created a vulnerability that the chinese or the russians or the north koreans or the iranians will leap through and that's the problem the government's got right now. it can't figure out a system that will really secure consumers but will also allow the u.s. government to get in without taking considerable risks. >> charlie: here's the impression i have, that the president looks at this issue and says my god, we have a huge problem here. we've had a problem first crystallized by edward snowden and we need to do something and the only way, because so much is in private hands, is for the government and the private sector to work together. >> that's all true, charlie. you've got it exactly right. i think what the president would like to do is move the clock back in an odd way to the period

of time between world war ii and up through the snowden revelations where technology companies and the the government frequently work together. now, the companies themselves have another problem. they keep coming to the u.s. government and saying, what are you going to do about the chinese who are stealing our designs? what are you going to do about the russians who are breaking into our systems? what is the government going to do about this? and that's the president's leverage that these companies on the one hand want to keep the u.s. government out of their products. on the other hand, they want the u.s. government's aid against chinese and russian and other intrusions. >> david, thank you so much. thank you, charlie. >> charlie: david sanger from silicon valley. back in a moment. stay with us. >> i>> charlie: in the 25 minutes or so we have here i want to begin by jason who first got involved in this project right? >> i did. >> charlie: tell us. in 2010 i went down to meet

chris and didn't know much about him. there wasn't a book yet, but i knew he had hit a shot from 2100 yards and had more confirmed kills than anyone in the u.s. military history and walked into the room and shook his hand and looked in his eyes and you could feel it. >> charlie: feel what you could feel it had cost him something. you could feel this -- the air around him was heavy and, you know i knew what he had done and so, i was looking for it, and he put a smile over it and had a great personality but you could feel the air around him was heavy and this man had been through some great turmoil. >> charlie: you reached out to bradley? >> i did. i did. bradley and i have known each other from years back and we both loved war movies and we'd had a conversation about deer hunter once that struck me and we talked about this and he reframed it kind of as a western and, you know, we got off the

phone and i think we both kind of figured we had something. we'd gone out a couple of times to try and sell it and pitched it and, you know not a lot of people were jumping at the bit to make an iraq war movie and this guy kind of changed that. >> charlie: you had one conversation on the phone with chris? >> yeah, one curse riconversation. his deal was taking a while to be made and we were worried. i thought, let me talk to him, maybe he's trepedacious about hollywood and i understood. i talked to him on the phone and i liked him right away. i was a sucker for the accent. he was making jokes. he had done research about all of us, i think and he said okay, i'm going to strap you to the back of my truck and knock the pretty out of ya. (laughter) but i could tell, i think that's

a good thing. and we got off and i was excited. in my mind i thought, maybe i could just take a year and live with this guy from texas because i thought maybe it would be a dream to play things like that but then in 2013 he'd gone down with his own weapon and everything changed. >> charlie: what changed? first of all, you never know likely you're going to make the movie. it's so hard to get one made specifically one with this matter and especially with a drama of 50-plus million. a studio won't make that easily. quite frankly all of a sudden, stephen speilberg wanted to change it. and kyle said to jason, if you're going to do the movie, get it right. and she just opened up the world to me and to cnn and clint and it became a movie about a soldier and what they go through and the family and almost the

schizophrenic nature of going in theater and back home and it reframed everything for us and quite frankly, changed everything for me personally. you know, this guy just died and we're going to tell this man's story. we make movies. i'm doing a play. he's writing something else. but the family, the children, this is going to live forever with them. this is a massive responsibility. it was before, but now more than ever, because he has no voice. it's been taken. so it was a huge honor. >> charlie: he's a big marion than you physically. >> we're the same height same shoe size. i can barely hear, i have a hole in my right ear like him and the same age. outside that completely different. >> charlie: how did you become him so that you felt like you could meet the challenge of getting inside of his head as well as his body? >> yeah, i mean, it was one of those things where we're very much like the guy i'm playing now joseph merrick, there was a

beautiful difference between his physical nature his vocal nature and his soul and you really got to see his soul in difference and in comparison to his physical and vocal stature and there's just no way that i could possibly tell this guy's story without you feeling his physical presence how imposing the guy was. i mean he walks in the room and it's just, like jesus! and navy seals come in all shapes and sizes and he was a beast. he also had this texas lilt that put you at ease. the band width of the way he would animate himself is very small. most people gesticulate and the h guy didn't go past here pretty much. that would only work if you felt how imposing i could be on the onset. soy just knew there was no way i was going to believe on him unless i gained 40 pounds and

could talk like him. >> charlie: and handle the rifles. >> absolutely. just to take it off and put it on a rack, it's not easy. you know, i mean, everything was something that took a lot of time. >> charlie: talk about the vet's aspect of this film. >> i think that we understood that if we told not just chris' story but if we put archetype of the warrior in a personal and singular way that we would be telling more than chris' story. >> charlie: because he had lived that story in part? >> because he had lived that story, but so many of these guys lived a similar story, especially from afergz and iraq these guys go over and over again. eth not like world war ii where you go once, come back, have two and a half months on the boat to decompress with the guys. these guys go, come back sometimes alone sometimes on commercial airliners, step off in an airport full of civilians in their gear, and they're back in another world like that, and

there's no time to decompress and they're just thrown right back into their family. >> if film is also about the idea that when a map or woman goes to war, their family goes to war. >> yeah. absolutely, yeah. i mean, that was the thing we really wanted to focus on is that, you know, 1% of the population are involved with the military in this country, so 99% of the population had no idea what was going on. i've had the privilege of going to walter reed in san antonio and these hospitals and when you meet the vets you realize there's always someone with them, the sister, moth, brother, girlfriend, someone, and they're living there 24-7. it's not just one person serving it's whoever's with them. it's a reality i think a lot of us don't know so we were really interested in shedding a light observe to that. >> the number is fewer and fewer, and they're constricted into a smaller socioeconomic

group. so the number of politicians who have kids serving in the military, very, very few. and, so, the idea is if not only the families can identify with this, but if we as the public can identify with the plight these guys go through in a personal way then it's going to be different when we send them off to conflict. >> charlie: a lot of people are writing about the film and says it's becoming a cultural tough stone, a cultural conversation having to do with the iraq war, having to do with the fact that the iraq war was not about 9/11, you know, and often i think people criticize a film or talk about a film and they're talking about the film that was not made. >> yeah. >> charlie: rather than the film that was made. >> right. >> charlie: what did you want to say about war? >> you know, i have to say, charlie, i'm going to be honest my task was very simple as a producer of somebody who wanted to tell the story, not just to

play chris, was to be as truthful as we could of telling this man's story. it was a very simple chore that we had. i think you would agree. it's for someone else to watch it and take what they'll take, but if we could just get a kernel of what it was really like for chris to be in those situations, that somebody at home had no idea, that we could translate that experience because that experience is not one that i really know or many other people don't know, and if they can then know that then maybe there is a goal, which is probably similar to what chris' goal was after he was honorably discharged, which is it is something when someone says thank you for your service, but he really made it his goal in life, post serving his country as a soldier to really go a step further and get people to take a hand out and talk to vet and ask about their story and offer to maybe take care of their children and let them go on a date or help them with their groceries, simple task, but one step further from thank

you for your service and walking away. >> it's personal. if you tell his story in a very intimate way, it becomes personal, and instead of just saying oh, war is hell war is human and it takes a singular toll on this man and his family, and to explore that from the drivers seat of this guy's life, then allows us to see how human this is and what exactly it cost this man and his family. >> we also have the opportunity of basing it on the man who is very iconic within the world he lived in. they called him the legend. also, he was charismatic. and so is taya. these are very live characters. if the movie brings him down to being human, that could be mealing for people watching the movie, who have the experience that well chris kyle couldn't

have gone through what i did. >> charlie: chris kyle said the reason he wanted to kill because he thought the act of killing as a sniper was saving the lives of his friends. >> correct. and, you know, this is his job. this is his job. the weapon of his trade is the gun, you know, and he felt -- he said to us, he said, i'd rather be remembered for the guys i saved than the number of people i killed. that was how he saw it. he saw it as if i can take a life and take on that burden to save a couple of guys, then i'm going to do it. >> charlie: i'm just teeing this up now. why has this film done so well -- other than the brilliant acting and screenplay -- what is connected out there that resonated so that there is a diverse audience and this film may gross more than $350 million

or $360 million? >> you never know you just don't know what the reason is. if i were to guess my hope is the reason is there's a sense of truth in the film, that people when they're watching it think they're actually watching this man and this woman and the other characters, they don't just see sort of, oh, he's doing a good job acting. that really was our hope to strip it down. there's very little score in the movie. everything is basically practical, mean shot within the lens, a couple of effects stuff. even the script and the acting, quite frankly, it's all very stripped down and the thought i'm having is that perhaps because there's a sense of reality and it's a subject that people know nothing about but they're very aware of that it's caused interest. >> charlie: do you think it's part of a longing for heros in america? >> i believe maybe people are ready to examine what heros go through and i think that, you

know hopefully there's some fatigue of the capes and the tights. (laughter) (applause) >> charlie: you would do well in tights. >> no, no... (laughter) >> charlie: so tell us what was the evolution he went through? this audience just saw this film and in your own words, what were you trying to communicate about this man and his own journey in the text of this film? >> well, the toll that choice of, you know serving your country to protect the inalienable rights of life and liberty and the pursuit of happiness. you have this guy that goes into the office, is clear about what he wants to do and why he wants to do it. the clarity hasn't changed when he comes out after the fourth

tour burks he has changed. the hope is that you see it. i saw it in my research. jason saw it firsthand by meeting him. that was the thing we wanted to make sure. all the little moments. there's no one scene. we always thought this movie is -- the arc of chris was always going to be told in very small moments. he watches his friend's face get blown away, then he watches mark lee get killed like that right before they were talking something. he watches his child being born. he's going back and forth. all of a sudden after the fourth tour, he's at a bar and can't go home. then he almost does a horrible thing to his dog in front of children. you're watching all these things and you're just watching it take a toll on this man. >> the beautiful thing too, with this story is that hearing it taya shared a story of finally feeling like chris made it back from the war. their marriage struggled for

about two and a half years from the time he got home till the time he was murdered. he came home like that and he brought a lot home on his shoulders and in his head. >> and talked about it openly. talked about it openly. how he didn't leave the house gained wairkts was drinking all day long, for two years. >> but she shared the story with us that about a month before his death, he walked into the kitchen and he was spinning the antique six gun and she looked at him and looked in his eyes and this was her husband that had been home for two and a half years and it was the first time she looked at him and felt like he was home. >> he started wearing his boots and belt again and his jeans, and the closet was exactly like it was in the movie. there were real markers of his healing. he did that by helping vets and

he found a purpose when he was a civilian. >> charlie: the trial has just gone underway in the last few days, as you may know. i heard this morning a cell phone conversation he had talking to one of his colleagues and friends about the guy that shot him. >> wow. >> charlie: and he was saying i think this guy's nuts. >> wow. >> charlie: i.his neighbor who was in the passenger seat with him, he texted him while they were driving because he didn't want to say it in front of him, he said this guy's straight-up nuts. >> charlie: the guy is pleading guilty by reason of insanity. how was it to work with clint eastwood? you told me the two people you most admired, one clint eastwood and the other robert de niro. so how was it? >> yeah, i'm a very, very lucky

man, that's for sure, to have a chance to work with both of them. clint is everything you could possibly want him to be. that's my experience. he feels like that iconic human being that you want him to be and he feels like the soft, gentle man you always want him to be and he makes you feel at ease right away. he has a levity chris had and he doesn't take anything too seriously. if i learned anything it's just don't sweat it. it's the reason he's 84 and just glides through life still. the guy, it doesn't make sense. we're shooting in mo rock o five-story walk, he's jogging up the stairs, leaving everybody in the dust. the guy's incredible. it not easy to make one of these, especially not in 42 days. that's nothing. and he just -- i mean, it was incredible, and so tuned in. he's so tuned into authenticity. actually, just by his presence, i would have to say, on set,

forced all of us to just, you know, lower the bull meter as much as you can because you don't want clint to catch you acting. it's the worst thing in the world. yeah, i don't -- that's a bunch of bull (bleep) (laughter) >> charlie: does he direct you much? >> absolutely. something just comes to mind -- first of all every time i was on the gun he was right there. he has a monitor and he carries it around with him. very close as we were on the and that made me feel safe that he was invested with me. the last scene in the kitchen where chris comes around with the six shooter and clicks it, that was clint's idea. he said, why don't you go over there and say hey drop them drawers, drop them nice and easy... and we were, like that's genius (laughter)

>> it would be good to hear you do it. >> when chris was on his gun and said talk dirty to ya. we were trying to figure out the stupid things. but they have a big impact. he did the ear peace and she's talking and clint said, why don't you actually see if it's possible. in the moment he's like do, i put the gun down? he's like, i've got the gun in one hand and -- it's a beautiful, light moment, then on the gun looking at a target in the next second. the ability to not dive in sent mentality but keep it very real clint is a master at. >> thank you guys for doing this. >> thank you, charlie. (applause) >> charlie: david carr died thursday evening. he collapsed in the "new york times" news room. he was the legendary media columnist. david was 58 years old and for

the past 25 years he documented the shifting landscape of media through the birth of the digital area. carr was called one of the most gifted journalists who's ever worked at the "new york times." before joining the "times" he worked for twin cities reporter and the washington city paper. also contributed to the atlantic inside.com and new york magazine. in 2008 he published his now famous memoir, the night of the gun. it was an investigation into his personal addiction to drugs and alcohol. he spoke to me about that time at the table. >> journalism is a very sort of blunt technology, and it goes with certain narratives. if i say, you know, as an addict i got sobered up, got custody of my children, got us off welfare

survived cancer, and then got a great job, that's one story. that's the story i like to tell. but there's another story about somebody who was a full-on maniac, sowed ruin into everyone's lives whom he came in contact with created enormous collateral damage, and either through luck or pluck made it away from that. both those stories are equally true. i think there is one that makes a little better media narrative -- >> charlie: that's the second. it's about a thug that works the "new york times." that's a pretty good redacted piece of analysis. i'd write that story. addiction is a disease of the self, and it's a kind of chronic, repetitive narcissism where only your needs and what you can stick in your pie hole is all that matters and yes you are to recover for yourself burks to begin to stare in the

face of the people around you and say, not only do i love whiskey or cocaine, but i love it so much that i'm willing to take them down with me. >> charlie: that's a powerful comment. >> yeah. and i could be a bad husband and was bad employee and was bad boyfriend and was. i really hated being a bad dad. couldn't stand it. wasn't raised that way. the the idea that i left my kids locked in a car while i went into a dope house, i came out and thought, you know what? my god is a forgiving god maybe not of this, though. when my daughters wrote their essays to go to college, that's kind of where the book started. i read their personal stories of what life had been like with me and it didn't comport with the story which i was telling which was kind of a joseph campbell -- >> charlie: yeah. -- somebody who, you know has an epiphany and hot foots it back towards the righteous path.

and in their eyes and in their memory, it was a lot bumpier road than that. so my sort of me and my self-realization followed by epiphany, followed by accomplishment sort of deepened and got a lot darker when i went back and looked at it. >> charlie: carr joined the niesms in 2002 and quickly became one of the world's finalist media critics. in 2013, he talked to me about the paper and the future of media. >> you know we are an age of great tumult. when i was asked to do a media column in 2005 i said, i have no interest in that nothing ever changes. we keep talking about the sky falling, nothing changes, nothing changes. and i said, i'm a general assignment reporter in culture. i enjoy the transition and friends of mine at the paper said look, bud, how many columns do you think the "new

york times" is going to offer you? take the column. as soon as they took it, big chunks of the sky started falling out. the newspaper in 2006 just kind of tipped over in plain sight. what they want me to do is look over the hill not get stuck on the rearview, not be a nays nostajist and talk about the era we work in. sometimes i work as an actor in the business, but in general what they want me to do is find the people the technologies, the artifacts that are driving change in our environment and sort of the difference between media and technology at our place has been marching together and the consumer is pushing and dragging the world into a new era, and my job is just to grab the back of their shirt and hang on and follow them wherever they go. anybody who tells you oh, i

help you see over the hill, i help you know what's coming around i really think they're full of beans right now because i don't think anybody would have predicted that a company that used to mail you little red envelopes would be changing the future of television. it just sounds preposterous, when in fact that's part of what happened. my job over and over again is to be an advocate for normal people, not get caught up too much in the jargon, and try and find a through line of what does this mean to me as a person who is involved in business but, more importantly, what does it mean to me in terms of who i am as a consumer who do i have to pay attention to and what i don't when i wake up tomorrow is the world going to be a lot different than the one i'm living in today. >> charlie: david carr became a bold-face name for the times when he starred in andrew rossi's 2011 documentary "page

one." >> the news business in this country is nothing to be proud of. the media is a technology business. that's what it is. that's what it has always been. technology changes, the media changes. over time, the audience has switched to the web. the audience that's worth a buck in print is worth a dime and sometimes a penny on the web because we end up competing oftentimes, against our own working a grey gated. there's a great site might want to check it out, aggregates all manner of content. but i wonder if michael's really going to get rid of main-stream media content? okay. (laughter) go ahead. (applause) ♪ >> andrew rossi, the director of

"page one" handed me the previous film about about the rebirth of 2000. i had a cameo because i was making video at the time. he interviewed me about another documentary he was working on, web 2.0 in new york. he said, i want to shoot the story of the media meltdown over your shoulder, and i just said well, that's a great idea, an andrew, go ask my bosses about that, thinking i could get rid of him in that way. >> charlie: there's a point where you choose to say, damn it it's the "new york times." your point was -- >> well, i mean there's a history, and i think it comes from people like me reading the kingdom and the power at an impressurable age that -- >> charlie: and people like you. >> that there's a magisterial

aspect to the place and there's a kind of "new york times" exceptionism and part of the reason people hold us to account as severely and ferociously as we do and for significant mistakes manifested in the film is we have a standard that we hold to regardless of whether we're publishing on the web publishing in the newspaper, and the suggestion of people that not only could the "new york times" go out of business, but that it would be a civic good that it did i found to be silly because we've lost so much journalistic horsepower from the ecosystem of news that it couldn't be regardless of the organization's fault. you can't afford to lose the boots on the ground, the muscle, the 1100 men and women that crank out, that make the phone calls, that go to the place.

>> charlie: the "times" executive editor wrote in a staff email david carr's unending passion for journalism and truth will be missed by his family at the "times," by his readers around the world and by the people who love journalism. >> i will tell you that although i was self-destructed i never once wanted to die. i'm always interested in what wanted to be next. i'm not a suicidal type. i'm a survival. i'm a person who's interested in survival regardless of the self-induced peril that i surrounded byself with. i was always hoping there would be one more caper beyond this one. >> charlie: survived by wife jill and three call your attention -- wife jill andthree daughters. david carr, dead at 58. we will miss him greatly. >> before any trial began,

supplies of zmapp ran out. now after the outbreak hit just enough is produced for a small clinical trial the liberia that could start as soon as next week. if west african lives will be saved, this o it can be done by this plant in western kentucky tobacco. this is where the science is turned into a product zmapp is manufactured in row after row of this odd-looking variety of tobacco. can i smoke it chew it? >> i wouldn't recommend that. >> charlie: it's different? very different. >> charlie: hugh hayden is the president of kentucky bioprocessing which was recently bought by cigarette giant reynolds american. >> when you say tobacco to most people today it suggestions cancer and emphysema heart

failure death. >> no question. it's known in our culture as a killer. >> there's clearly a bit of irony there, but again, there are good things that can be done with it and that's our objective here. >> charlie: zmapp isn't easy to produce. it takes six weeks. the tobacco plants first have to be grown for 24 days then immersed in a liquid contain ago gene that tells them to make special antibodies which helps the immune system fight viruses, in this case ebola. as the plants grow, they copy the antibodies over and over again. a xerox for antibodies. >> that's essentially it. e leaves are then ground up into a liquid which looks like a a juice you would buy at a health food store. the process is repeated three times using 6000 pounds of tobacco plants.

how much zmapp would you get out of three tables of this? how many people could you cure of ebola if it works? >> it would be dozens best case. >> which is not very much. >> charlie: hannah davis is here, 2015 "sports illustrated" swimsuit cover model, her third appearance in the magazine and first cover. the popular issue first published in 1964, has launched the careers of household names including kate upton, kathy ireland and christie brinkley. each year the magazine reaches 70 million adults across multiple platforms viewed by more 18-34 men been the super bowl. joining me m.j. day, editor of the issue and worked on each edition since 1998, pleased to have her and hannah davis here to talk about this phenomenal welcome. how do you choose first?

>> it's no easy task. we have 25 beautiful women. >> charlie: what are you looking for? >> something specialty something different. something that you didn't see last year. something that you -- something that's going to jump off the news stand and grab your attention. >> charlie: hello, america! does this grab your attention? (laughter) how did they notify you? because you'd been in it several times before. >> yeah, i actually was called in to do an interview, so i thought i was going to a regular interview. they started showing photos of me from past shoots and the interviewer asks, you know how did you feel on this shoot, and tell us about this picture. then all of a sudden m.j. came in and -- they said would you like to see a new picture from this year's photoshoot and i said yeah, i haven't seen it

yet. she walked in with the cover and i started bawling and freaked out. >> charlie: you started bawling? >> i started crying. >> charlie: why? it was my dream as an athlete growing up. i played tennis in the caribbean and volleyball and sports was my life. being on the "sports illustrated" cover was just the ultimate for me, and i sort of -- when i started modeling i thought -- i kind of, like lost a little bit of my sports that i had in my life, i guess so it was just an awesome feeling, and i kind of, like, got back to my roots a bit. >> charlie: tell me about the making of this picture. >> so we were on a farm in tennessee. >> charlie: what was the theme? >> america the beautiful. i had been shooting on a horse prior to that shot for a few hours. i was drenched in sweat.

m.j. said to me, you know, this is the last shot we're losing light. this is your cover try. and i thought, oh my goodness. wow, this is a lot of pressure. but, at the same time i thought, this isn't going to be a cover because i'm on a farm, i'm not on a beach. so i think maybe that's why it worked because i didn't even feel the pressure. >> charlie: what are you thinking when they're about to photograph you? what goes through a model's mind? >> wow, i think i kind of channel an inner outgoing personality that i don't necessarily have otherwise. sort of like a show girl kind of thing. you know, you just put it on like i'm acting, because i tend to be a little bit shy and introverted, so when i go on sets like this, it's nice because, for one they're very

small, so you would be surprised that on something even as big as "sports illustrated," there's only a handful of people around, and i've known these people for quite a few years now, so was quite comfortable. so, you know i just try to have fun with it and i have a good coach. she was right behind the camera. >> charlie: how does she coach you? >> this is funny because you were, what, nine months pregnant? >> yeah. she had this big belly. i'm on my knees in this picture. >> charlie: these are your knees. >> yes, i'm on my knees and looking at ben watts, the photographer and she's right behind him and she's literally acting out every pose and i'm copying her. and she ease like focus, look at me in my eyes right now, okay we're going to do this okay, this is the cover. and i'm thinking, okay m.j., all right. but i just wanted to do my best and i had a great coach. she knows what she's doing. >> charlie: what are you looking for? are you looking for a pose, a

moment, an expression? >> a moment. a moment, truly. a moment where all your stars align. i mean, it's interesting because the cover is very important, obviously, picture but it's also very specific. you know, if the arms are covering too much of the waist everything else would be perfect but you lose the fluidity of the shape. you want all the pieces in the right place for it to be the absolute ultimate shot. >> charlie: do you like the idea people are saying maybe "sports illustrated" went too far here? it's too -- to use a word they're using -- risque? >> i like the fact that people are talking about this issue. i love the fact that they're talking about this issue. >> charlie: and did you do it with that intent in mind? >> absolutely not. absolutely not. i mean we -- our photos run the gamut we take from one pieces to

a leaf. >> charlie: right. so when an image becomes acover image, it is truly because it is in our opinion the most beautiful and representative photograph for the franchise, and i believe, and everyone at "sports illustrated," believes hannah in this photo is that. she's the epitome of health and vitality and beautiful, feminine physique in this shot. it just so happens her hands are hooked on the side of her bathing suit. >> charlie: because you told her to. >> because i told her to. (laughter) >> charlie: what did she say, exactly hannah? did she say, i want you to pull this -- >> she's really just acting. i'm doing my own bit as well. we have music playing and the whole bit. it's more of a moment. it's less constructed. it's not just like pull your

pants down, hannah, for the shot. >> charlie: congratulations. thank you. no pressure. >> charlie: congratulations, hannah. >> thank you. >> charlie: don't forget your tennis. >> i won't. >> charlie: thanks for joining us. seous next time. for more about this episode and earlier episodes, visit us on pbs.org and charlierose.com. captioning sponsored by rose communications captioned by media access group at wgbh access.wgbh.org

the following kqed production was produced in high definition. ♪ and their buns are something i have yet to find anywhere else. >> cause i'm not inviting you to my house for dinner. >> breaded and fried and gooey and lovely. in the words of arnold schwarzenegger, i'll be back. >> you've heard of connoisseur, i'm a common-sewer. >> they knew i had to ward off some vampires or something. let's talk desserts gentle