>> rose: welcome to the program. we begin this evening with bryant gumbel. >> the score is basically irrelevant. i've said many times that "real sports" is about sports like rocky was about boxing. i mean, boxing was the vehicle for them to tell stories about hopes and dreams and class and ambition and disappointment. >> rose: and "real sports" is? and "real sports" uses sports as a vehicle to talk about race and gender and class and education and societal norms and politics and finance and everything else that it entails and that of the gets overlooked. >> rose: we conclude with salma hayek. >> i wanted to remind the world that it was an arab man who wrote a book about philosophy that united other religions

around the world together. i think in a time like today, it is a nice thing to think about. and then i wanted also to be able to -- i think it's very simple and it talks to a part of you that when you hear it, it sound almost familiar, not because you heard it before, but because it's simple truth about the simple things in life that bring us all together. >> rose: gumbel and hayek 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. >> rose: bryant gumbel is here. he is one of television's best broadcasters -- underline broadcasters. he was with nbc for more than two decades where he hosted the "today" show for 15 years. he joined cbs in 1997 and anchored both his prime time program and the early show. since 1995, he hosted hbo's operates with bryant gumbel. it delves into the independent caseys that comprise the sports world. the program has won numerous awards including emmys and the peabody in 2012. pleased to have bryant gumbel at the table. welcome. >> thank you, charlie. someone told me the last time we did this was '99. >> rose: i don't even remember the '90s.

>> that's right after my bar mitzvah. >> rose: so you're doing "real sports." >> it's a wonderful broadcast. i've got a lot of great people. it's a great place to work and 's been really a lot of fun. > rose: what's your frame of mind? it's won a peabody, good place -- hbo -- great people to work for, pay you well, all that. (laughter) so is that it for you? >> yeah, i think so. i think so, charlie. you and i have talked about this. u know, i enjoyed working in the mornings, as you presently do, and i love your work, and you know that i watch constantly, but i think i had my time and i think my mindset my way of doing things doesn't likely fit with the way things are now. >> rose: you could step in with what i do tomorrow and they'd not know the difference.

>> i would notice. >> rose: you would? and plus i'm not the same guy i was. >> rose: how are you different? >> i'm much more easy going (laughter) well, you remember, back in the day, if somebody said something that set me off, i was eager to fight and more than willing to mix it up, and now i'm more inclined to say, you know what? you're an idiot. i'll let you be an idiot. >> rose: you have a great marriage. >> i have a wonderful marriage. i'm very fortunate. my friends say i've kicked my coverage and that's true. hillary has been terrific. >> rose: i love hillary. there's no ambition left in you? >> i have a lot of ambition, charlie. i still like being engaged with smart people. i still like discussions and conversations. i just don't feel the need to do them in public. i don't have that overriding

ambition for everybody to know what i'm thinking. it's not that important to me. it really isn't. i'm happy to have discussions with friends acquaintances, people at dinner and, you know, have my say but the idea of getting in front of a camera and engaging people on any and everything and fighting them, you know, tooth and nail, i don't have that anymore no, i don't. >> rose: but you do have it for sports and you use sports more than simply as you well know and have defined, it's not about the score. >> no. >> rose: it's about a culture. the score is basically irrelevant. i've said many times that "real sports" is about sports like rocky was about boxing. >> rose: yes. boxing was the vehicle for them to tell stories about hopes and dreams and class and ambition and disappointment. >> rose: "real sports" is? and "real sports" uses sports as a vehicle to talk about race

and gender and class and education and societal norms and politics and finance and everything else that it entails and that often gets overlooked. >> rose: let's talk about sports things. >> sure. >> rose: tom brady. what would you like? i mean, look -- >> rose: was four games the right -- >> i don't know if it was or wasn't. i think the most amusing thing for me -- >> rose: yes? for me the most amusing thing is people are so concerned about deflated footballs, and you can't get their attention on serious stuff. >> rose: concussions, things like that? >> yeah. >> rose: don't you think the n.f.l. is trying now -- now -- on concussions? >> i think they're eager to get past the problem. >> rose: you don't think they care about concussions? >> i don't want to say they don't care. do i think it's their priority? i don't get that feeling.

>> rose: if they don't do something about it, i mean -- >> it will be their financial downfall. i think in that respect they care. >> rose: but they care about the shield, as they say. >> yes, which is why -- >> rose: which is why they care about brady and -- >> well, which is why they're probably delighted right now that everybody is preoccupied with what they like to call deflategate because they're not talking about all the other stuff that we generally do. >> rose: like domestic violence? >> domestic violence, like concussions. >> rose: how many shows have you done on concussions? >> too many. >> rose: would you say not enough? >> i would say i'm happy we've brought it to the fore as often as we have and done a responsible job. >> rose: have they made a difference and changed in response to the kind of things you pointed out?

>> the problem is so deep that to a certain extent you feel like you're spooning water out of the ocean. >> rose: really? i do. i'm not necessarily sure you can have the game without it. >> rose: without hard knocks. that's exactly right. if you made me got tomorrow -- >> rose: you would play touch? no, i would take the face masks off. >> rose: so they couldn't grab them and twist the head? >> no, i think it's going to be a rare individual that leaves with his head that doesn't have a face mask. you will wind up with busted noses, bloody teeth and lips but i suspect you will have fewer people leading with their head. my guess. >> rose: but the interesting thing to me, you know roger as well -- >> yes. >> rose: -- and they've got to -- the most important thing for them is the reputation of the n.f.l. as you know. >> yes, they are very protective

of the shield. >> rose: yes. yes, they are. they care a lot about public opinion. >> rose: and did they change sufficient for you but a of all the trouble they got into about rayray rice on domestic violence? >> i don't know. they made mistakes but i'm not necessarily sure there is an easy way out for them on this. they can't get ahead of the legal process. you can't deny somebody due process. so as a result, when somebody has a charge against them, the public may want roger to jump in and suspend the guy immediately but until and unless he has gone through the system and he is found guilty what are you supposed to do? you can't deprive somebody of their living. so i'm not sure there's an easy way out for them on that. to what extent the problem is

inherent in the people who play it, i don't know. i mean, i think it's sometimes overstated. we just did a piece recently on the level of domestic violence among guys involved in mma -- mixed martial arts. >> rose: right. high? >> yes, compared to the societal norm, yes. but the other thing compared to the societal norm, the n.f.l. is actually less, although it gets a lot of attention. in terms of incidents per 100,000 males, it's actually less than the norm. >> rose: what about one and out? what would you do about that? >> if you made me god tomorrow of the n.b.a.? always with a small "g." >> rose: i walk around saying if i was god, all the time -- (laughter) >> it's less a college than a pro problem. if in every other walk of life the pro n.b.a.s played by the same rule which is if you're talented enough as a dancer and can get a job without going to college, you're a talented writer, musician, whatever you

want. if a guy is good enough coming out of high school to go into the pros, he should have that opportunity, which would get rid of or certainly minimize the impact of the one and donees which really came about when the n.b.a. passed its rule that you had to have at least one year of college before you could be drafted. >> rose: then bargained for two years and others are saying look, you should pay them when they come to college. >> well, that's true too. now you're giving me my meat and potatoes. (laughter) i think it's the biggest injustice in all of sports. >> rose: do you think the biggest injustice in all of sports is not paying kids who come out of high school

playing. it's not amateur for the coach school, administrators, the university, the networks, the sponsors, it's not amateur for any of them, they're making a mint. it's only amateur for the guys taking the risks. for them, it's amateur. rather than talking about paying them, i simply say we should find a way to make sure they are fairly compensated for what they are providing. you have this engine -- >> rose: which is entertainment. >> yes, it's providing a multi-billion-dollar industry, and they are spoald getting an education for it but that's done with a wink and a nod, so they're not even really getting that. certainly there must be a way of setting up something so they're -- >> rose: they're protected in college not only about grades but conduct. >> absolutely. and i saw an interesting piece on that and they were talking about are they treated differently than regular students who follow the law as young college kids often, are

and they say yes but not for the reasons you suspect. >> rose: why are they treated differently? >> because they have access to a lawyer. >> rose: because the university -- >> the university makes sure they have access to a lawyer, and that's what separates them and why they seem to get full, preferential treatment. it is preferential treatment. it's not preferential by the name. it's preferential because you have good representation and, as you well know in the american legal system, you have a better chance of being guilty with a great lawyer than being innocent without a good one. >> rose: you're going to start giving opinions again on "real sports." >> mm-hmm. >> rose: you missed it, and then you said -- (laughter) >> it was a dumb thing to do. >> rose: not giving my opinion, what a dumb thing because you need my opinion! i have a lot of opinions. it was so dumb of me to stop giving them. i know how much i deprived you i know how much you needed this. i know how good it was for you but i said --

>> for years, for 19 years i had buttoned every show with a brief commentary. >> rose: people liked it. some of them. >> rose: people liked the idea overall. nobody expected you to hit it out of the park every time. >> and, boy, i didn't. (laughter) but i guess i missed it and i think the show need something at the back end in much the same way as 60 minutes, in much the same way that at the back end that people expected. people expected it and it buttoned the program. >> rose: a great example is what chad did on sunday morning. he used to have natural themes -- >> i still like sunday morning. >> rose: i do, too. rand morrison is one of the unsung producers who really created and made better a very good show. >> it's terrific and charlie is -- >> rose: charlie is charlie.

nobody in this business is irreplaceable, but, boy, he's close. charlie does a wonderful job. >> rose: pretty good on radio too. >> i never heard him on radio. >> rose: is that right? honest to god. >> rose: oh, boy. the story is paul harvey tried to get the two to the two of them together because he said, if you and i can come together almost as a package we'll own the radio. >> i grew up with paul harvey, my dad had him on the radio. >> rose: your dad was a lawyer. >> a lawyer and a judge. died in his chambers in 1972. >> rose: heart attack? second heart attack. >> rose: the most admired man you've ever known. >> easily. easily. i've often said it's not a fair world. my dad with you brighter than i am, was harder working than i am.

>> rose: yeah? did more for society than i ever did. >> rose: yes? and i would venture to say in his best year, in his best year, he didn't make what people in television make in a month. >> rose: in a month yeah. or for one speech? >> yeah, you know. society is not fair sometimes. >> rose: i think about that a lot with my father. couldn't have been a better man but times change. >> times change. you know what's interesting, when i outlived my dad -- my dad died at 51 -- >> rose: when you became 51. i counted the days, when i passed him that's when i really sat back. you always look at your parents like they're so old, you know. and when i passed that time i was, like, wow he really was young! but it was a different time. their 51 years were different than our 51 years right? >> rose: yeah. he was a world war ii vet.

so, yeah. he did before i was ever on the air. >> rose: so he didn't see you? never. >> rose: my father died during night watch. >> come on! >> rose: he would watch it every night. we don't know, he may have been watching it, he was on a treadmill, fell off and the doctor said he was dead by the time he hit the floor. >> how old was he? >> rose: he was 77. the point, is he probably was watching me on the television. he never saw the latter part. >> he was very proud. you got to go to the white house. i would give 20 years off my life if i could play a round of golf with my dad. my dad never played at a private course, never had a caddy but made it possible for me to do those things.

>> rose: and you could take m to any course in the world d play. >> and he would love it. he made it possible for me to do that. i play private clubs and have caddies, and boy would he love that. >> rose: morning shows what's wrong with them? >> i don't know that there is anything wrong with them charlie. everybody who does one always likes to believe theirs was the better than the one who followed. >> rose: put the emphasis on news -- >> i understand. times and audiences change. whether they're responding to the audience or whether we should be telling the audience what is important is a debate we could have forever. they're not as substantive as they were. would people -- >> rose: you and tom were there and -- >> yeah. would an audience sit there for that now? i don't know. >> rose: we're going to find out. >> yeah, i don't know. i mean, i can remember having a 20-minute conversation with the reverend ralph abernathy on the

today program. >> rose: you went to a couple of commercial breaks? >> yeah. yeah, ran through a bunch of stuff. i'm not sure the public would sit for that kind of thing anymore. >> rose:anymore. >> rose: jeff? no, probably steve freedman. >> rose:. >> rose: just let it go. i ran for the stop sign. >> rose: one of the bigger mistakes they make is they will dump out for something really good for something not quite as good because it was programmed that way. this is supposed to be four and the next is four and when you weigh them -- >> they're not equal. and the other thing i don't get -- i sent you a note when i was concerned yours was going to do it -- i don't want everybody sitting there and weighing in. okay, this happened. do we really need to say, that was great fun, wonderful, great

fabulous, good, okay. i mean, no no, no. >> rose: you don't. you don't. >> rose: the big advantage you had but the opportunity to do a lot of one-on-one stuff. that's the way that program was designed. unless you are going off to do a piece outside the studio -- outside the studio you can do a thousand one-on-ones but at the table. >> i remember we did a five-part interview with david stockman reagan's financial -- you know, i can't imagine now a morning program doing a five-part vee of interviews with president obama's chief financial advisor. you know, five minutes each. i can't imagine. >> rose: i can tell you what we would do on cbs this morning, we would do five segments --

>> but all different. >> rose: no, same guy or same woman, and some really interesting way. we would do that. in fact, i'm arguing for that. that's something i argue for. but in a sense, take head of the c.i.a., take joe biden -- >> the other big change charlie, and you know this very well, is the morning show has always been a progress progression where the heaviest stuff goes the first half hour and you get progressively lighter. for years there, we still talked about mideast peace prospects in the third half hour. >> rose: yeah. well, now, in a lot of shows i watch, they eve gone to the latest makeover in the first half hour. i'm kind of out of step. >> rose: well, i mean it's no secret you like in. >> yes i do. >> rose: you like news. yes. i send charlie notes.

why did you do this? (laughter) >> rose: this show, peter jennings, god bless his soul, used to watch this all the time. the idea to be able to talk to someone one-on-one, peter with you, like, golden. except it came with criticism applause, judgment -- i interviewed someone once and peter called me up and said how could you do that? and then the next night he would cop up and -- call up and he would say, you should be there the rest of your life. (laughter) >> because when you like a broadcast, you become proprietary by it. you're kind of offended when it goes off the rails to something you don't want and you're like hey, put it back where i want it. >> rose: do you like having leisure time beyond playing golf? >> yeah. >> rose: because you want to

take hillary out and do a lot of things together? >> i like doing things i didn't get to do for the first how many years of my life. i'm fond of saying time is like closet space whatever you've got, you fill. i'm fortunate. i fill mine. >> rose: yeah, i know. i don't feel like at the end of the day i wasted the day. i feel like i'm doing something i enjoyed. >> rose: it's how my life fills me. >> yeah. >> rose: but here's my argument with you. here it comes. you've got without sucking up to you you've got a lot of talent. you have strongly-held views about this world we live in, and i think you have the unique ability to communicate that. i mean you -- you know, you know how to grasp upan an issue and understand and communicate it. i think you owe it to us to do more because i think you really have skill. i would say the same thing to

marlon brando about acting, and i did say that to marlon brando. i used to say to him if you have contempt for acting, i don't want this conversation to go one step further, i'm out of here. he said, no, i don't have contempt -- >> no, i don't have contempt for the business. first of all i thank you. second, in fairness to all the people in television, they're kind enough to come knocking and ask. but they ask about various programs, would you do this? >> rose: getting ready to go on vacation, five nights, if you want to! >> i like doing one-on-ones. a buddy of mine said you could do a show called "get off my lawn" because that's where you are now. i'm like the lit guile on the corner who keeps finding problems with this and that. i like being engaged. i just don't feel an overwhelming need to do it in

public. >> rose: is it enough for you. when i see things happening in the public sector, in politics, on the racial front where i say, boy oh boy oh, boy oh, boy, do i wish i had a forum because i would like to come out swinging and say such and such. >> rose: richard would give you a forum tomorrow, do you want me to call him? >> he has enough headaches without me. (laughter) you know, i don't know. it's funny. i'm sure come friday morning after this, which we'll probably call debate with a small d on thursday night, i will have -- oh, my goodness, who was it who said -- letterman said the day after trump announced, he was sorry he quit, and that's what i think when i see what's passing

for dialogue. >> rose: what would you do if you had both the desire and the forum? >> probably a broadcast like this. i like talking with people who -- you know, it's funny my standard line has been people are fond of asking who's a good interview or a bad interview. i said a good interview is somebody who has something to say and says it well. a poor interview is somebody who has nothing to say and says it poorly. that's the reality. and i think the idea of finding people who have something to say and say it well, i think is fun it's engaging it's interesting, it's substantive, it's socially helpful, it's what tv should be. it's what tv should be. not the freak show that is often out there. >> rose: what about jon stewart leaving this week? >> obviously, he's done a marvelous service. this makes me the oddball in the

world. i've never been a watcher. i'm an admirer. >> rose: are you in bed by 11 or what? >> i don't find myself turning on the tv a bunch. i like to read. >> rose: don't watch colbert either? >> no, really didn't. again, i'm an admirer, i just didn't watch. i'm not a tv watcher. i watch you in the morning but after that, you know -- >> rose: well, are you doing anything new in your life that you didn't -- i mean -- >> seems like everything i do is new in my life. it's new to me. >> rose: you're reading and playing golf as much as you can. >> i play golf read, spend time with the grandkids. i do stupid things like this summer hilary and i are doing a new york vacation. we're doing things we never did. >> rose: the adirondacks and things like that? >> no, the frick. >> rose: the frick museum?

oddly enough, i had never been to the frick. >> rose: a great collection. it's wonderful. my favorite now. >> rose: you know what else is great about this city is -- and i say this to people all the time -- you can spend a different night in new york in a different country depending on what neighborhood you go. you want to be in the dominican republic, there are neighborhoods in which the only people there and all the food is dominican and the whole culture. >> you remember the op-ed in the "times" two weeks ago, they were talking about travel, and my father in law got engaged in a conversation like this, it's hard to jump up and go somewhere when you live in new york because you can say, i can do it here. there's nothing i'm going to buy in paris, london or anywhere that i can't buy in manhattan.

i'm going to get the food that's better, the only thing i'm not going to get is the experience. it becomes difficult because manhattan offers so much for you. >> rose: or be on the water somewhere, where you can look at them the whole weekend. i was thinking about all that. i just come from the south of france, you know. and i thought this, for me, is as interesting and as good, except, you know, i mean the little french villages which are different and unique and the food and the attitude and enknewiasm who -- and enthusiasm and who they are is different. >> you have to go in the vidgeses. hilary and i stay with my inlaws. they had a farm at the base of the mountains. we stayed with them. no radio, no tv, no phone. we're talking about a little place. we lived there a while. it was fun. it was different. >> rose: if i was an editor

today and you came to me with a television -- of a television program, which i am -- >> mm-hmm. >> rose: -- i would say to you, help me understand what it's like from a young black man's perspective. this clash with blue, blue on black, as they say. help us understand that. there's no -- >> it's one of the things we can talk about it, but until you have been there -- >> rose: i just said i would have had you go there. >> it's so funny you should say this because before you sat down here i reached on the paper to your left and "the washington post" there's a young columnist a woman in the c-section -- i didn't mean it that way -- who

got stopped, and she happens to be white and she got stopped and it escalated and got somewhat out of control with the officer screaming at her to get back in the car, and she was left with an impression that i'm sure no amount of discussion could have ever revealed to her until she went through it. when you are a person of color and go through it, it is a -- my son has been arrested for walking while black. >> rose: a lot of sons have been. >> i get it. you don't buy your way out of this one. you can't educate your way out of it. >> rose: it's happening too much or at least we know about it now. >> it's always happened. we see more evidence of it. people say, if he hadn't been

driving or doing this or that, almost like the person who was to plame well, he shouldn't have resisted, he had a hood on, her attitude was bad. it's, like, no stop. stop. this has nothing to do with the victims. this has everything to do with the culture of demeaning a person of color, and there is no justification for a society where my son has a far greater chance of being stopped, held, killed than your son simply but a he's black -- simply because he's black. there's no amount of discussion that's going to impress that upon someone who doesn't go through it? i think you should give me 25% of your life and i'll fill it for you. >> i don't know how much is left but you're welcome to it.

>> rose: thank you for coming. always a pleasure. i'm a big fan. you know that. >> rose: bryant gumbel. back in a moment. stay with us. >> rose: sal salma hayek is here. she is an actor producer her latest project is kahlil gibran's the prophet. here's a look at the trailer. ♪ >> my name's mustafa what's yours? we will transport you. >> i'm going to miss him.

a call to rebellion. they think i'm a prisoner, but i've flown away many times. (singing) >> what would i have left if i disavowed all that i believe? (singing) >> to love and freedom! i'll be all right.

my crime? poetry. >> rose: i am pleased to have salma hayek back at the table. welcome. we recognize liam neeson's name. he plays the voice mustafa. >> yes. >> rose: all of us grew up with a profit. 1923 was when it was first published? >> yes. >> rose: all of us grew up with it, know something about its poetry and inspiration. how did you discover it and how did you say, i have to make a movie? >> well, it's two separate things. i discovered it because my grandfather who was liam neeson always had the book on his bedside table, and the original copy had thef$-ñ drawing by kahlil

gibran. i was very close to my grandfather. he died when i was six. it was the first traumatizing experience with death, and i always wished i knew him better and that he could be there to guide me through life, and when i was 18 i found a book in someone's house, and it was the first time i could read the prophet, and i knew it was the same book. i borrowed it, and when i read it, it was as if my grandfather was telling me about life. >> rose: about love. about everything. and a little bit about him about who he was. but that didn't mean that it makes a good movie or that it's worth going to make it into a movie. >> rose: because you have to have a story. >> and this movie doesn't have a story, but it had other things that i thought it was important to highlight and that would make a great movie.

the first thing i think is important to highlight was the writer wrote a book that sold more than 120 million copies that unites all religions different creeds and people from all over the world. >> rose: you think it has a built-in international audience? >> yes, i think it has an audience, but most importantly, i wanted to remind the world that it was an arab man who wrote a book about philosophy that united all the religions around the world together. i think in a time like today this is a nice thing to think about. and then i wanted also to be able to -- i think his poetry is very simple. it talks to a part of you that, when you hear it, it almost sound familiar, not because you've heard it before but

because it's simple truth about the simple things in life that bring us all together. >> rose: has your daughter valentina seen it? >> yes. >> rose: what did she say? she's resentful of -- >> rose: is she eight? she's not eight yet. she was resentful of the movie because it took her mother away for so long. when she came out of the movie she was very proud of me, and she wrote a poem about we are spirits and we are free and we never die and we are eternal. and she made a little drawing to go with it that it's my grandmother who she never met and she's upset that she didn't get to meet her and how she's coming out of the tomb and she's dancing among the rest of the family. >> rose: everybody takes something different from it, don't they? >> mm-hmm, and this is the importance of making this film because we -- our children are

growing up to be consumers and everything we show them has been digested for them. say for our teenagers, same for young adults and same for us. this film, it has a frank story everyone can follow but then it takes you into a journey eight times during the film through art and music and poetry that it's always surprising. you know when they're going to come and what they're going to look like because we mix different types of technique of animation and they're different artists, and this journey is inside yourself so everybody is going to find something different, and it doesn't have everything digested for you. >> rose: was it hard to get the film made? get support from the film, to have people believe in the film, to know this film avoids -- violates some of the rules of -- >> all the rules of cinema. >> rose: yes. it's a movie made out of a

philosophy book with no story. the author is arabic, and you want to do it in animation, but you want to mix different styles -- it was impossible. and we had no script at the beginning. it was really, really difficult. i also had this crazy idea to make a philosophy of making the book, the same philosophy of the principals that the book -- of the principles that the book hold. i wanted money from all over the world but a there were some people who maybe were willing to to put the money but i didn't want a country. and we had animaters from all over the world different techniques, because it's about freedom and i thought everyone should have absolute freedom to create what they wanted. >> rose: at the end your husband supported it at the end? >> yes, at the end, we had a problem with one of the investors. we pulled out and then i had one week before i would give the other investors a door out.

so there were people that were, like, one of the banks that helped us from lebanon, were willing to put the money but it was going to take longer. >> rose: he said, i believe in you and i have to do this. >> yes. >> rose: he also said it's an interesting marriage for me to know both of you because he really insisted that you work because he knew you would not be happy otherwise, even though you thought you might be happy. >> yes, but i think he wouldn't have been happy either, otherwise. >> rose: he would not have been happy if you were not working? >> i don't think so. one of the things he fell in love with me is my passion for what i do. >> rose: yeah. and he didn't want me to turn into someone he didn't marry

and, also, i think we really give a lot to each other. he's excited to hear my stories. i'm excited to hear his stories. i think it's very nice we're both independent. when i say "independent," i pay a lot of my bills and i won't let him participate in a lot of the things. and i have to work hard to make a living so that i can pay those bills, but i think it's healthy. >> rose: you have your own independence. you met him after frieda. >> yes. >> rose: you had to put that movie on the screen. >> i had to put that movie on the screen. it was my opportunity to show a part of mexico and it's history people were not aware. some of the most sophisticated minds in the world were living in mexico. it was a very fertile time for art and ideology and people

don't think of mexico as a sophisticated place. >> rose: we've had lots of poets and lots of great writers. >> a lot were living there. petroski was living there. he would have been killed anywhere and he had a good time before they killed him. >> rose: what did he do? he had a good time in mexico. (laughter) >> rose: but you also did something, you found a very good director. >> in frieda. >> rose: yes. yes, julie taylor. and everything that i do as a producer, it's always very visual, and frieda was very important for me it was visual otherwise, it wouldn't have been loyal to her. one of the things i loved about the story that i wanted people to be inspired by was her

courage to be unique and julie taylor to make the story. >> rose: director of "the lion king "-- . >> roger did the main story which is a story -- >> rose: the story line. the story line and then the poems come as the perspective of the little girl as the poetry that would go into but roger alers does a great job. it feels very earthy because it's the one story that brings you back to earth from the dream, and he understands global audience very well. he's a fantastic artist, and i think it was the best choice for this part of the story. then we go to some crazy artists that are really extraordinary that tell the poems.

it's great because the children understand the poetry through images. so even if they don't understand all the word, they understand the concepts through images. >> rose: two poems one on love first. (singing) ♪ ♪ ♪ ♪

>> rose: voice, the mother of almitra. >> yes. i didn't know i would be acting in it, but somebody put me in the lead. >> rose: as the producer did you get the talent that was in the film? >> yes. everything. >> rose: was it worth it? oh, yes. liam neeson, you know he says the poetry in a way that it's like a conversation with a little child but when he was recording it he didn't even look at the script because he knew all the poems by heart. >> rose: whenever i'm in a conference and you're sitting if the first several rows, you always raise your hand. >> yes. >> rose: because you like to speak and because you feel passionately about public issues, and one of the interesting things that you have

said in conferences in which i participate, you know, is you strongly make the argument that, to defeat i.s.i.s., what we have to do is speak to the young people that are joining i.s.i.s. or other groups, and, at the same time, what we have to do is provide an alternative so that they're not lured to find their own identity, yes? >> so that they're -- okay, if they're lured to find their own identity, that means it's not their own identity. >> rose: yeah. so that they find their own identity and they're not lured into having an identity because they need a sense of purpose and they're not exposed to a stimulation that will make them come up with their own sense of purpose. >> rose: right. but they're easily brainwashed, and i believe that young people today don't have enough of this stimulation. >> rose: they want to find their own purpose. >> yes.

so that they think smartly about their own purpose. our future is in their hands. like one of the things that people said about this movie they don't want to distribute this, they say young people are not interested in philosophy and this is a big mistake. they are underestimated. it's not just about entertaining them. we have to find materials that inspire them and that inspire them to think outside of the box, because we cannot keep repeating the same patterns in history -- >> rose: are you talking about your film that you think will inspire them? >> my film will inspire them. we have to find other ways, but my film will definitely inspire them to think on their own b in touch with their humanity, to appreciate life, which life is becoming more and more something that's not valued not others not your own how we entertain

ourselves at life, away from life instead of pondering from life. a lot of our society and children are young adults because there's a part of them that has not been fed and that creates a lot of anxiety, everything goes on the surface. >> rose: if i ever met a self-starter, you are prepared to do whatever it takes whatever role you have to accept to make something% if you have to produce, direct star, get all your friend to be engaged, you're prepared to do what it is. that was true with frieda. >> yes. >>.>> rose:s where does that come from? >> a sense of conviction. i mean, when i act, sometimes i don't have a lot of conviction, d i'm saying someone else -- >> rose: their lines? yes. and also what someone else wants to say but it's also a good exercise for keeping in touch with your empathy and learning to be a different character. but when i want to go through trouble of producing which is a pain in the neck and i really detest it, it has to be

something that i really want to say that i have a con vick over that i believe in. and usually -- well, so far every single time they told me, it's not -- it's impossible. this will never happen and nobody will like it? and what did you say? >> and i said, let's see. and i have been right every time, and i hope i'm right with this one, too. >> rose: this one too opens on august 7 in theaters. "the prophet." >> may i confess something, charlie? >> rose: yes. i have stage fright. >> rose: yes. very badly. >> rose: yes. and i go to psychoanalysis. >> rose: you're on the air. it's okay. ly make this confession. itto makea question in front of everyone terrifies me. but i have all the questions in my head so it's an exercise,

actually. and i shake, so i do have a lot of questions and i want them answered and, as you can see usually they don't answer my questions. >> rose: so you're in pursuit of the answer to the questions you have. >> yes, but it is an act of brave rito actually raise the hand because i have a really big problem with stage fright. >> rose: when you raise your hand? >> yes, it's an exercise to come out of it. >> rose: i credit you and also your shrink as well. (laughter) great to have you at the table. >> thank you. >> rose: keep asking questions. >> thank you. >> rose: "the prophet" opens august 7. thank you for joining us. see you next time. ♪♪ >> these things move within you but light and shadows and constant embrace. you will be free indeed. your days without a care and your nights without grief but rather when these things wiped up your life and yet you rise

above them unbound. >> rose: for more about this program and earlier episodes visit us online at pbs.org and charlierose.com. captioning sponsored by rose communications captioned by media access group at wgbh access.wgbh.org

>> rose: on the next charlie rose, jason segel is here, plays the late author david foster wallace, the end of the new tour. >> the director said he saw something behind my eyes in my comedy dating back to freaks and geeks when i was a kid that was very sad and i knew what he was talking about. but to have somebody so -- to have somebody point it out so explicitly and say i see this and this is not something for you to be ashamed of, you should

build around that, that's special. >> when i think of this trip, i see david and me in the front seat of his car. he wants something better than he has. i want precisely what he he has already. >> david, welcome to minneapolis! >> hi, i'm david. david and david. we only just met. he's writing a piece on the story. >> what's the story about in your mind? >> about what it's like to be the most talked about guy in the country. >> you're a nervous guy. no, i'm okay. how are you? >> i'm terrified. have to ask what is the bandana? >> it's a security blanket when i'm afraid my head is going to explode. >> if we acted like this all the time, what would be wrong with that? >> isn't it reassuring to have a lot of people read you? >> i think this book is about

anything, about the question of why. >> why am i doing it and what's so american about what i'm doing? (singing) >> i think if there's a sadness for people under 45 that has something to do with pleasure and achievement. >> i have a fear of being a certain way.

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