tv Charlie Rose PBS February 21, 2015 12:00am-1:01am PST
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>> rose: funding for "charlie rose" has been provided by: >> rose: additional funding provided by: >> and by bloomberg, a provider >> and by bloomberg, a provider of multimedia news and information services worldwide. captioning sponsored by rose communications >> i'm charlie rose. the 87th academy awards will air this sunday night on abc. over the past year we welcomed the actors and direct he of 15 films. tonight we bring you conversations with those nominees. if this year's oscar field has one thing in common it's a
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>> rose: we begin with ava duvernay's selma. it's nominated for best and i recollect best original song global by john legend. it is a story of the 1965 civil rights marches in selma alabama. it's a pour traift martin luther king jr., the preacher, the orator, the husband and the man. in an attempt to liberate dr. king from his legacy we see him in the context of the movement. he is captured fighting alongside the men and women who have moved the needle of racial progress in america. >> we will not wait any longer. give us the vote. >> that's right. no more. >> we're not asking; we're demanding. give us the vote. >> great minds, you know spur it on and pushed on by the voices of the people. so it was really critical that the people in selma came for a reason. it was about the people and their voices.
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and more than one person. plenty of people in selma risked their lives but the people around king. >> and also within his camp and the people of selma and the civil rights movement as a whole. >> account governor of alabama. >> and all of those voices, you know, these were people that have all kinds of ideas about how to achieve equality, how to achieve justice. that's one of the things that we try to create in the tappestry of selma is that there were a lot of conflicting points of view but they coalesced and existed in a particular way by king. >> how many county judges in alabama. >> 67. >> name them. >> all through the film, as we made it, our intention was just to illustrate the emotions of what is in the history book. it's one thing to read and say you know voting writhe were
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denied and there were literacy tests that were in play. to actually see what someone had to go through to five times go to a window where you knew that there was no one for you in that situation, that there was no one rooting for you, no one wanted you to do it and yet you believe in your own personhood enough, your own liberation enough to want to do it and to endure it. so it means a lot to me to see these things. >> rose: what do you think you have accomplished here. >> the goal was to breathe live into these stories that i feel, even for black people of my generation have been kind of top lined, you know. you know the key facts. and it doesn't live and breathe. it's not a part of our dna in the way it was in the previous generation that actually went 32 it. so there's a. been a disconnect there and i say it for myself in terms of an understanding and an
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empathy, a true connection to that time. this was a movement that was at its peek for 13 years. we had 120 minutes. there were complicated relationships, there were nuances of strategy and policy and all kinds of things going on. we're making a film and our goal was to just really get to the best word is the spirit of it. ♪ ♪ one day, when the glory comes, it will be ours ♪ ♪ it will be ours ♪ ♪ . >> rose: what were you thinking when you wrote it? where did the inspiration come from? >> i was thinking how can i be an extension of dr. king and the people of the civil rights movement now? how can i really be a voice for them? and from what i see going on,
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and how can i really say something that is inspirational, that truthful, and that is like all encompassing, like because obviously dr. king's message and to my understanding, it takes all of us to improve things. it takes black, white latino asian, native american, different religious backgrounds -- it takes people from just putting love in the pot and so i just wanted to put love in the song and create something and say love is not just always sitting back and being passive. love is like standing up for what you believe in. >> richard linkletter's boyhood was a labor of love for the cast you and director. the film took 12 years to make. over that time it saskatchewan sketches the life of a texas boy his sisters and twoorsed parents as they grow separately
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and together. ethan hawke said the beauty of the film is as in life it substitutes time for plot. >> time in cinema have always been an obsession of mine, i think. i think largely i have -- the time element for my films, i think, are largely structural devices. when you approach a story, often there's -- there's characters, story plot devices. i think i have largely dropped conventional notions of plot and replaced that with time, whether it's realtime or limited amount of time, say in the before trilogy. in this film it's very much about time, the passage of time. so to me that becomes the story. and it often doesn't make sense on became but i always instinctually felt like an audience will get it because that's the way our lives unfold and the way we process time. we process our lives moment by moment, intimate small moments, occasionally there will be a
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plot twist but our lives are unfolding. >> dad is trying to find us and he can't. >> that won't be a problem. we can call grandma. >> the hey! oh look at you! you're so big. >> i saw the whole film is liking an explosion of self like who are you. are we the same person in first grade as we are when we graduate from high school? are we -- how much are we the same? are we different? >> what's the answer? >> you can bring it down to biological is it nature or nurture or -- it's a mystery. i think no one will ever completely figure out who -- how we get to where we are, but -- and what shape -- >> there's no single thing. we can always look at our lives and say there's one moment that determined that. that's always in hindsight. you're always saying oh, you're trying to make sense of it but what the film is really about is
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the moment 20 moment lives that we all lead and you're just -- the narrative thrust of the film is really a mother's -- we're following a very passionate woman who is doing what she thinks is the best for her kids, and that kind of takes her kids in a lot of areas. >> you did a great job by the way. >> thank you for saying that. i never thought i would hear you say that. >> it's true. rose: how does your character change and yet hue is it a continuation? >> well, when we started this this is what i really thought about. i thought about my own father when i was 6 years old. the movie finds young mason junior, 6 years old staring at the sky. i thought when i was that age what did i think about my dad? what did he look and feel and sound like to me? and what did he look and feel and sound like at my high school graduation? and they were two men.
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both the same but very different. and all of the changes that happened along the way seemed inevitable in hind cite. you know in the moment, you never know whether you're going to go left or right but four years later it seemed like you always were always going to go left. that's the way life feels. >> what understanding should we have of mason's marriage. >> what i think is wonderful about the marriage is that you don't get any. you get a child's understanding which is that the movie never really -- you never know what happened. and i know my kids are this way. i was this way. i don't really care. i love my mom and i love my dad. they're amazing people and they love me. and the world likes to create a narrative about a person who is at fault or where it is. but just from the child's point of view, you don't care. >> birdman is a film about art and artists. michael keet plays an aging
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actor at a define will moment in his life. the black comedy unfolds into an unconventional showbiz film. >> reporter: come on, let's go. ose: nice to have actors who know what you're trying to do. >> i think it was clear conversations all the time. i think that we were very open. all of us had to be naked and all of with us were walking in the same tightrope. so if they fail i will fail. nobody will help us. there's no editing or polishing. i cannot hide any bad scenes. i would be impossible. so this is an endless spaghetti that has to be basically everything tied together so in a way i explain the experiencely playing in a band. we were playing life and exposing all of us. nobody will saved or -- and that bbwates a very great collaboration family vibe that
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normally in films doesn't happen because it's very fragmented experience. and i will never shoot the film as i did before for sure. that changed my whole perception of how i should shoot and what film should be for me, and it's absolutely different. what i did now i feel elated the way did i things. i overabused editing. you know it's not needed. i see now even any films, why? it looks a little bit -- there's a very artificial order that film making established that now i'm questioning myself, why have we been doing that so long and so overabused you know the fast-paced speed editing that you never really feel nothing, and what i learn about this process is that all the time, all of the great directors i have they shoot like mat could haveski or sokolov in russian,
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all of that, what it contains is the beautiful way that we get and how we live our lives. and really the only time that we really enjoy -- that's why we're so addicted to fiction or movies or books because we fragmented time and space. it's an illusion of mind. it's mind masturbation. we say, what is that, we read anytime a book and everything seems to size but that is an impossibility of our lives. we're trapped approximate our own labyrinth and in a way that brings you to that part of reality. >> they don't know you or your work. they node the guy that vomits stories on lettern. >> sorry i'm popular. >> popular? popularity is a bloody cousin of prestige. >> mike is an actor that comes
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sort of swanning in at a late hour to sort of save the play in question. alejandro said from the git-go, there's lots of pleasure in sticking a fork in the movie industry in artists and their pretension and their egos but if underneath all of this this isn't deeply relatable by anybody who has ever had that voice in their head of doubt of self questioning, then we haven't gone to the level that this should function at and i -- i do think -- i not only think everyone has their birdman i think people have flocks of birds, you know, that go around them. >> to bart said, cultural work done not past by gods and epic saga and s. now being done by laundry soap commercials and comic strip characters. this is a big leap that you have taken. >> it is. absolutely.
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>> rose: what's the story you're tell. >> it's a lot of things. it's about how you see it and what it all means to not just be an artist but what you are willing to lay on the line in life and not lay on the line in life and are you being your -- ultimately are you being your true self to some degree, i think he slowers that. it's a lot of stuff. >> you have the capacity to be improvizational and go off script and all of that. >> yeah. and it's not in editing. you can't. >> rose: if you do, you let everybody down. >> everybody and you have to work perfect, physically be in the right spot at the right time. and you throw the luxury of multiple takes, multiple angles out. you know, so if they would ever judge a director like they do like gymnastics or olympic events with degree of did i, it's not even close. this guy crushes everybody because the did i for everyone
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was very high. i'm working on a movie now. my fear was every movie i do after this, this was so frightening and exhilarating and fun and nerve-wracking, i thought every movie after this is going to be boring. i sort of think about how we made birdman. and it's kind of like, if you ever almost had a head-on collision i mean people swerved and at the time you were quick on your feet and your reflexes were good and you cut through it and the then later that night it hit you how skierry that was. that's what happened now. i'm on the set and i'm like wait a minute, how did we ever think that we could make that movie the way he made that movie? >> rose: we talked to three the best actress nominees. reese witherspoon stars in the film wild based on the memoir of cheryl who made a thousand mile
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journey up the coast after the end of her marriage and death of her mother. >> and gone girl is the story of a fairytale marriage gone bad. and julianne moore plays a ling sticks professor diagnosed with early onset alzheimer's disease in the film alice. these three actresses spoke of working in hollywood gender and their roles. >> you may say this falls into the great academic tradition of knowing more and more about less and less until we know everything about nothing. but i taupe convince you that by observing these baby steps into the -- into -- >> she starts noticing little flips in her memory and doesn't mention to it her husband or anyone. and gradual begins to realize that something serious is going on. she goes to a neurologist and is
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diagnosed with early onset alsz. >> so you have right there the arc of a character. >> and who she is, and who her special self is, you know who are we. this someone defined by her intellect so she has to redefine who is she. >> and what do i do when i can to no longer dot things i do. >> you watch this and understand what it's like to live with alzheimer's. >> right. >> i have always been so defined by my intellect, my language, my articulation, and now sometimes i can see the words hanging in front of me and i can't reach them and i don't know who i am and i don't know what i'm going to lose next. >> you have chosen films like this throughout your career. right. >> rose: almost as if you said this is a role i want to play. this is something that i can
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really add value to. >> i never november what i want to play until i see it on the page. that's what is interesting. sometimes people will say in your ideal world be what do you want to play and i say i don't know. but when i read something i say oh that's what i wanted to do next. >> what did you see here. >> i think for the first time i had seen disease depicted from the inside, from the perspective of the person who was sowferring. so consider suffering. so often we see diseases from the impact of the point of view of the caretaker and this is really about what does it mean to experience this this loss. >> you were a literalist in the sense. you liked the script has written. yes. i had worked with magnificent writer elves, really, really great writers and then you don't want -- you're like no, no, i'm not touching this. there might be times where you work on something where the script is not fully formed and then you say let's figure out the language. but i'm someone that language
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specific. i feel like every word you use mens something and there's power to it and shape to it and there's meaning. so i want to give the language that authority. it's really important to me. i think the word that people choose to express them themselves. >> perfectly brilliant amazing is getting married. >> when i was 10 i quit chemical ole. >> the next bookaa may mazing amy became a prodigy. >> it's something you didn't earn from your own merits which is what amy had to do from a tiny girl does she feel like a fake. >> she has a fragile sense of self because you have this amazing amy character who excels everywhere, at every point that the real amy failed to gave up, whether it's sports or music or academia or whatever, and yet she is meant to sort of go out there and parade herself as the
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prototype and i think it's made her very sort of inward looking because of that and a sense of entitlement covered with inadequacy which makes an unstable person so you translate that little girl into an adult woman in new york on the dating scene, with new york having the freedom to deep reinventing yourself. but if you live in a small town you do, because your circle of friends will shift and she needs to be who she needs to be to get out of that situation. >> amy, who are you? >> me, i'm award-winning script writer. c, i write for -- >> ok. your hand are not built for scrimshaw work. so i will go with c. >> and you who are you?
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>> i'm the guy where all is possible. >> to the eastbound of the movie we move into this very surreal place where you're sort of sat rising so much and yet it assort of -- it's the point that you feel a powerful shift in the aweients as they start to kind of see these two players playing each other in a differently different way. and i just love the idea that amy has, for her purposes, has reignited the nick that she first saw. she now performing. she is now reflecting and he is sort of worthy of her because he is not just sitting there playing video games. he is presenting a public facade and performing and plailing the husband incontrol. >> i feel like i could disappear. >> i feel likery done such a
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range of different roles. some are sweet for sure. but all of them have as areocity of spirit. >> the image of your changing? yeah. and i'm ready for a change. i don't think i have ever in my life had to do scenes that were so exposing and raw. >> rose: so what are you calling on in yourself to make these scenes so real. >> well, i mean a lot of my own personal experience. i have certainly had relationships not work out that were devastating. >> so you have -- aknacknism. >> yeah. i have known grief loss saying goodbye to people i have loved. >> there's a scene at the end of the movie where cheryl falls to her knee competence she said "i miss you, got the.
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i miss you. >> yeah. rose: what is that? >> that's probably my mother. my mother's mother died when she was 20 and i didn't understand as a little girl why she was crying and she would say "i miss my mom." and i held her, i grieved for her for so long. when my mom saw the film she said i see that you saw me because that's my stored. that's my story. she is a beautiful woman and she's definitely become the woman her mother wanted herb to be and i'm named after my grandmother. i hope i make movies that make them laugh and i hope i make movies that make them feel proud of how strong they are. >> there's a tradition of strong
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women in the south. >> oh sure. i go all over the world. and people say, you know, you don't ever see any weak characters. i don't know any weak women. >> i have only another 300 miles to walk. i'm it is separate for this to be over. i'm terrified too. >> and at that point in my life i can make 20 more movies but i want to make 20 more movies that matter to me. i just don't want to do anything. >> rose: and at long last you feel in control. >> yeah. and i feel like my perspective matters for the first time. >> rose: and if you succeed that it had change hollywood. >> i hope so. i think it's time. i think it's time that we start seeing women for how complex they really are. i want to see this movie. >> wes anderson's films are known for the singular and grand
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style world. the grand budapest hotel is up for nine academy awards. it follows the concierge of a decadent european hotel. once you step into a wes anderson film get ready for a load of adventure, high drama and colorful character. >> the story is, it's about a hotel concierge, who has a whole kind of cycle of women admirers mostly rich older women. and one of them dies and he gets sort of caught up in the family -- in kind of a fight for the inheritance. >> so how did you find the storey? >> well there's a real person who is one of the inspirations. the character played by ray fines is partly based on a real person an old friend of mine and hugos but there's also -- i
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started reading this author, stefan vye and only six years ago or so and i started reading his stuff and i had never heard of him. the more i read of him, the more i said i think i can do my version of his world. >> maybe a third of you gentleman. >> inspector, by order of the commission of the police i hereby place you under arrest for the murder of madam -- >> i knew there was something fishy. we never knew the cause of death. she's been murdered. >> what is it that you love the most. >> you know, i find that each time that we finish a part of the process, the script or shooting or whatever it is, i'm ready to end that and even the editing room i'm ready to shut it down when we're finished. but i'm always eager to get on to the next part. and so to me the most -- the
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time that is kind of the most kill rating is the shooting of the movie and having the actors and being together there and doing this thing, but the editing room is a special thing because usually it has this thing of each day you make a scene. the wrap i get kind of like more into property and wallpaper, which when i'm making a muffy what i carry care about are these characters and but i do like to make a world for them that we sort of made from our imaginations and from research and all of that kind of tough and i do get pretty involved. so i can't say it's an invalid criticism. >> rose: why do you think that is? it's the setting? it's accent waits the moment. >> the thing that you see the most that -- we are got this square or rectangle that is the movie, and the faces are a big part of it. but the clothes and the set
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and -- there's -- we have this amount of space to communicate whether we're going to communicate, whatever feel examination whatever ideas. so i want to work on all of it. >> alan turig is remembered today as a pioneer of modern day computing a war hero and tortured soul. it's the subject of "the imitation game" with best october ter -- >> when they called you when you ever agent called you did you know who he was. >> a little i didn't know much about it. >> i didn't either. >> you read the script and you are engaged with this and there's no fantasizing or asking you to be like and it's funny and witty in its intelligence and then you get the mystery and who the man is and break being the code and the joy of that and then the definitely lucian into
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the tragedy of his demise. and the emotional impact of what injustice he was served and what happened to him, excruciating reality of that is only magnified when you realize i didn't know this. i thought i have to tell this story. i really want to be somehow a part of this film because this man is a hero. he is the father of computer science computing. >> you need me a lot more than i need you. i like solving problems commander. and enigma is the most different problem in the world. >> and a characteristic of him that you most wanted to get at. >> it's the fact that he is ultimately -- he was able to learn from the environment and the people that he worked with and that was borne out in testimony, with his relationship with joan clark and his first life love with christopher morgan the boy he fell in off
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with at school. that was a real key for me as an actor, very inspiring and a real clue into -- we celebrate the fact he is different, thank he achieves different things and the prejudices that he suffered and the it centrix behavior for what was seens a doibility in those days and yet he i think, still manages to, every time there's a challenge, even in the throws of his body being ruined by these injections he was working on morph owe general sis and bringing his whole tragedy into the world. >> how did you get inside of him? did you watch and really you could. >> reporter: sadly there's no footage of alan turig. there are pictures put you can't
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take it from pictures and there's a lot of fantastic aning doats. >> people that knew him. >> people that knew him and so much is written of the chiens of achievement but who he was on a day-to-day basis that was a great clue and about him visiting and playing vest with his back to the board and just not feeling like they were children, feeling comfortable if his presence and feeling they could be themselves rather than being quiet and seeming not heard. >> and redmayne is nominated for his portrayal of stephen hand you king. the film tracked his early years at cambridge, his als diagnosis at age 21 and his extraordinary career. he also examines the family life. it turns out love might be the most complicated equation as all. it is also nominated for best picture. >> i had to chart out a sense of
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what the character's progression would be, but you do all of the learn, watching documentaries, reading about him and people that knew him. but ultimately you're making an educated gheft. so the fear is what if i immediate him and i release all of those choices i have made are completely gone. so there was a great deal -- when i met him i had a live conversation with him, which was interesting because people want to know about that specific meeting. but in the three or four hours that we spent together, he said maybe eight or nine stentses! if you care about me at all then please just go. >> what i lover about the script was a scrutiny and it was this young passionate love but it was also family love and love of subject matter and ultimately the bound address of love, and the physics of love element that
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is interest because stephen in charge of this three reof everything, this one indication that explains everything but it seems to me the lotion of love and is the one thing that we had can't quite articulate or lanier. >> one shoimple lal way -- one simple elemental way can change everything. >> what did you are to get? what did you see in terms of the way that he was at a human being and the way he communicated? >> now there's a lot of documentary material of stephen from the 80s which by point he is in the wheelchair. but before that it's just photographs so you have upper neurons and lower neurons much if the upper stop working there's a rigid quality and if the lower stop working there's a softness or a wilting. and this is a combination of those two things but how it
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manifests is different in each other. so i took photos and the showed them to stephen. there's a wedding photo of stephen holding james hand and it looks like they're just holding hand put if you look closely his hand on top of her, there's a softness to it and he is leaning all of his way for her. >> so by that year he has lower neuron in his hand. so i would chart each muscle and when it stopped working. then i worked with a dancer, alexandria reynolds, who taught me to find that physicality in my own body so that when we came to shooting, the physicality, the illness couldn't be less important than him. he has so much -- this is not a story about a disease or an illness oar physicality. it's a love story and weeped to make sure when started freeing we could be free to play the
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truth. >> nightfall and character study are to foe totes of men achieved by brilliance. miller brings us knox catcher that reveals the story of john dew point played by os der nominated steve carell and his dysfunctional relationship with mark and dave schultz. the film is a cautionary tail and haunting an american allegory. robert dew point is a injudge, who maces illness and family recollection. this is histh os ter name inflation: blue moon documents crime scenes in los angeles and sells the foot to my knowledge a tabloid local news station. >> you, get back. > think of our newscast as
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screaming woman ruj down the street with her throat cut. >> where did the idea come from. >> when i heard about ouija, the crime of the 1930s and then i heard of the modern equivalent, people go out with the video cameras and i thought it was a kinetic background for a film. this is someone that comes into the world as an amateur and eases a very long -- i want to stop our discussion over prices. this will save time. so when i say a particular number is my lowest price, that's my lowest price. and you can be sure i arrived at that number very carefully. >> you are watching the foul blossoming of auto didactic self actualized person who has come into a landscape of competative free market and it turns out every sin continuation that he
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has he well suited for. she utterly empowered. he is saying to renee the news director that he sells the footage too and heretofore she has been molding most of the cards. then he realizes he had the power. >> should we be concerned absent the tharld that you have shown us here? number one, we present this was a success story to in degree to it's a personal story for jake and me and i think the people are socio pathic personalities are being rewarded and we should be concerned. and on local news depending on the market it liens to leave violence and images. and unless you can get a different analysis. that crime going up and in fact it's going down. and if somebody in your neighborhood should be perceived as a credit and i think there's
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a site tall toll and the fear to get ratings is something that has a detrimental affect that i don't feel that we can put our finger on but i think it's -- i think it's something that we should be aware of. >> this seems fair. >> one more word. go on: look around you. you are standing in one of the last great cathedrals in this country build on the promise that you and you on are responsible for the consequences of your actions. this the biggest muy i have been in since apocalypse now and that's 35 years ago. >>. >> once again if you start talking and listening and nothing more than that and see where that goals. if you do that purely, then you will be rewarded around the corner for something better and higher. if you do that on a basic level, you know, and it's very toes do that. >> you mean getting a sense of who he is as a human being.
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>> as people. as actors as people. >> not out here you can have it here. and you know you just go from there and if there's chemistry it will build. you know, if it's pure and in the simplest form then i think something, you build it and you need -- >> hey! >> tell me about the scene in the bathroom. >> the scene in the bathroom. everybody success about that. >> why do you think they do? >> well because it's pretty graphic and pretty negative and sometimes people don't like to see those things but you are to show them sometimes. >> i was a little hesitant to take it at first, because stepping in your own crap, isn't that a thing that is not so enticing as an actor but once you decide to do it or commit then you just have to do it. all out without intellectualizing it. just do it.
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>> are you and grandpa still going for ice cream? >> it's funny, humor in a situation like that, just like you have to find the vulnerability in other scenes to offset things you know. and i think this almost like a theater piece, i think that the actors have the chance to go big but by going big you have to do it within the confines of your own temperament. you can't violate what your temperament, you know, says to do or not do. >> what do you hope to achieve, mark? >> what do you get out of all of this? >> what do you think? this is it. this is 58-that we've ever wanted. >> it took you eight years to get this made. >> this film just did not make sense to anybody and never did make sense. so any standard identified metric that is used. and when money ball is wrapping
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up i let megan allison and showed her the script and talked to herb about it and she disregarded, you know, her council and just took a shot. >> david, there's a lot of work to do the next couple of months. i want to talk about the relationship between john dew point and the wrestlers. >> that's the question. what is the transition. and i think dew point cast himself in a role where he would be, you know, the leader of these guys. i think he was, as steve pointed out, a very lonely guy, alienated guy. i think he feels attracted to the from a turnlt of these guy whose do are a moral told and they're in it for the virtuous. >> this isn't an allegory of america? >> i was drawn into these scenes but you have to be careful when
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miking a film because you have to acknowledge it's implicit within the story but then, you give all importance to the characters and what is happening but for me i do say a lot of relative games, glea are mark you have been living in your brother's shadow your entire life. >> i know what you mean. >> what is your biggest challenge sneer. >> a very quiet film and what it's really about doesn't get stressed sprit italy to finding a way to coordinate these moments that we register what happening what being unspoken. >> beyond pre-k for this, what did you -- being preparing for this what else did you say i have to do to get inside of john dew point? >> started with preparing and i said -- the hair and makeup helped, you know. i'll be honest. i worked with makeup artist
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named bilk orso who is truly fantastic and had as much to do with developing the character i think as anyone. and he wasn't just putting prosthetics on my face. he was truly thinking about this human being and who he was and what he represented and dew point -- dupont had a specific way of carrying himself. he had a re very particular way of speaking and he also had a very specific look physically, just naturally. he feels -- he was peculiar and off putting to many. and just being in a a semblance of that on set was helpful because organically it worked to my favor. meme didn't really want to be around me that much. >> american sniper tells the
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real life story of chris kyle. bradley cooper placeds the iraqi war voarn with over 160 enemy kills, kyle is considered the most lethal sniper in u.s. history. the film considers the story of a warrior and the physical and mental are signals they experience and the toll it takes on families. american sniper received six nominations including best picture and best acting actor for bradley co-oper. >> tell me about how you saw him. >> you know, the whole thing, the whole investigation had been so interesting and that's how i want to look ate it, like an experiment. charlie, i looked at all of the footage. and there are interchanges because he was promoting his book and all of this foot sing out there. i got to know the way he breathes and moves his hands and everything and i just fell in love with the guy, i got to say and i have mad, mad respect for
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him. humbled. utterly humbled and a great sense of humor and for being such a huge presence compleuk tell the way he changed the to temperature in the room. he has the same ability as christianity eastwood, to make everyone feel at ease. >> i want to get the bad guys because if i can't see them i can't shoot them. >> all of these guides id they know your name. you feel invoinsable but you're not. >> did you feel that you had made the movie that you went to make at the end of shooting? >> yes. are pretty proud of i. oh yeah. and i have to tell you something, i was worried that i wasn't going to be able to do it. i was terrified i wasn't going to be able to believe i was chris, when we were shooting the
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movie which was not a long shoot because clint eastwood goes fast, i fetal chris' presence. i felt that's he was taking care of me and a lot of people would come alone set who neuld chris. and i could say the minute they came up to me, they actually started to believe it too. >> rose: the interesting thing about him, and i asked you about him as a shot. it was more than being a great shooter or a great sniper. >> that's right. >> well, couple of things he just hopped to be at the right place at the right time. he was very savvy in terms of where to set up his gun and he sort of always had a knack for that and also nor putting out what was a normal. >> in january 2013 the journalist laura -- laura poitras started receiving tips from an anonymous source.
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she met edward snow snowden. he became the most inunanimous whistleblower in american history. cds 4 about that meeting and what would follow is nominated nor better documentary. last days of vietnam was will be nominated. it brings to life the start of the vietnam war. demonstrated by profound footage that was complicated and ending as it was throughout. >> the film sets you up as to whether we are in set familiar at the time of the fall. it's 1975. two years earlier we had signed the paris peace acorral so no troops in the country by the time these take place. themacy accord had been signed. it's troops went back. thethe idea was that the north and south would live peacefully
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together. the north broke the peace, invaded the south. they thought would it take two years to get this but it took four months so they got to outside of the city very fast. the u.s. was unprepared. the u.s. sid we're just going to get the u.s. personnel out of the country. we don't have time to get the vietnamese and many that were left on the ground said not so fast. we can't leave our vietnamese family friends and children behind. so the story ends up being a story about these extraordinary acts of courage and heroism on the part of both americans in vietnamese to save vietnamese during the final hours. >> there was a sea of people wanting to get out by helicopter. >> but well they looked up at the helicopters leaving and
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could i see their eyes. >> part of story focuses on the u.s. -- there was a shift and the fleet was out in the south china sea that had the helicopters on it. the helicopters bo go to the embassy and pick up 50 people and come back to the fleet. and this was a ship that was monitoring and locating the fleet and the helicopters to make sure that there was no attacks from the north. but what happened was all of these helicopters, the u.s. helicopters are going out there and the south vietnamese they still had the pilots and the and they got in them, filled them with vietnamese families and started fueling the u.s. helicopters out know knowing where they were going but knowing it was better than staying in the country. all of a sudden the be
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helicopters started hovering over the kirk and they decided to come down. the first comes down and 13 people get out. and they don't have enough room on the ship to have more than one helicopter because it's not meant to do any of this and they said to the captain what do we do, there's nor helicopter and the captain said throw them overboard and make room for the folks one. there wean very this incredible footage of these helicopters being pushed off the dirk. >> you have more drama than you have here. >> you know it's an extraordinary story and i think a lot of people are familiar with the iconic image of the helicopter which is going through the the embheas and the desperation of the people trying to get out. very knew people know the story beyond that point. so this film really unfolds and a quite dramatic manner, showing the events that took place during those final remember to
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hours. >> reporter: snowden wrote you and said you asked me why i chose you. he said i didn't. you chose yourself. what did you mean? >> i started documenting what was happening after the text of 9/11 and made a film about the iraq war. after that i found i was put on a government wash list and i started being stopped at the border when i traveled and it was mysterious, and i never knew y it was a secret process. and somehow working on this topic for many years i became very sophisticated at using encryption and to communicate securely. then in january of 2013, i received, you know, a serious e-mail from someone saying that he wanted to talk with me and asked if i could share my enkrifntion key which is something you use if you want to you know, secure e-mail. i said sure here you go. who are you?
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he came back with an cellingly surprising and shocking e-mails and then we corresponded over the course of pfeifer moles before glenn and i got on the plane to meet him in hong kong. >> this not a question of somebody skull king around in the shadows. these are my my issues. those are everybody's issues. and i'm not afraid of you. you're not going to bully me into silence like you did everyone else. >> i actually this was was an anonymous sorts and that it was just a stranger and at some point he would say i received documents and he would disappear. he didn't intend to remain anonymous forever. he said he would come forward as the source. as soon as he told me that, i said well then we need to meet. and -- and i think it's important that we understand your motivation. as a journalist i ask for those
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things to. and his first response was that he felt he didn't -- he didn't want the tore to be about him which something hat he sort of said conflict of interestly. he said the focus should be open them what the government should be doing. and i made the comment it's not really going to be up to you and your motivation does matter. by the time i arrived in hong congratulations he was -- he knew i was coming with a camera. >> for 25 years we wish all of the nominees the best possible luck. for all of us here, we thank you for watching. i'm charlie rose. see you next time. >> ready to have some fun? >> what do you want to be mason? >> are you asking me if i killed my wife. >> i feel like i could disappear. >> you have to make the hundred
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>> funding four charlie rose has been provided by coca-cola company. american express. additional funding provided by >> rose: additional funding provided by: >> and by bloomberg, a provider of multimedia news and information services worldwide. captioning sponsored by rose communications captioned by media access group at wgbh access.w
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this is "nightly business report" with tyler mathisen and sue herera. big deal. greece and its euro zone creditors agree on a four month extension of that country's bailout and that sends the dow and s&p 500 to all-time closing highs. tech talk. as the nasdaq takes one step closer to 5,000, our market monitor has a list of technology stocks to put on your buy list. and the hunt for yields. companies are hiking dividends like madmen and four stock tips if you want now. all that on "nightly business report" for friday february 20. good evening and welcome. i'm tyler mathisen. sue herera has the evening off. well what a finish to the week for stocks.
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