>> hello and welcome to the program. i am claire pryde. these are the top stories. a priest killed in northern france after two men entered a church carrying knives. they were later shot by police. francois hollande is in the town . the vatican has condemned what it called -- a knife attack in japan as a facility for disabled people leaves 19 people that.

calls for sanders unity behind hillary clinton. "she never buckles under pressure," said michelle obama. francois hollande and in theerior minister are town of saint-etienne-du-rouvray after a priest was killed. hostagest the chur there. the priest reportedlyad his throat slit. another hostage was seriously injured. the attackers were later killed by police. prime mr. manuel valls has described it as a barbaric attack. the vatican agrees, saying it is

all the more heinous because it happened in a sacred place p rejoining mao -- in a sacred place. kate moody, what do we know at this stage? kate: detailed -- the details of what were happening in the church in saint-etienne-dudu-rouvray -- ts was morning mass. there were not a lot of people there. and twore two priests other members of the congregation -- these two armed men entered the church from a backdoor, and we understand they were armed with knives, possibly other weapons, though we do not have confirmation of that. they took the congregation hostage. police arrived on the scene quickly and the situation was neutralized within just a few hours. the two hostage takers were killed by police. the the police entered church, they saw that the priest, in his 80's or 90's, had been killed.

reportedly had his throat slit, although we have not confirmed that yet. also reports that a second hostage had been gravely injured, fighting for his or r r life. reports also coming out from saint-etienne-du-rouvray suggesting that that other victim was one of the nuns. the interior ministry has not confirmed that. she is in a very serious situation indeed. claire: do we have any idea who the attackers were? kate: we do not have any sense. -- there are some reports from local media suggesting that one of the men at least had a beardrdnd some kind of head covering that is often related to the muslim faith, but that has not been confirmed. the spokesman for the interior ministry spoke a short time ago and said he could give no information about the profile of thesese two men, although he confirmed that antiterrorist investigators have taken over

the case. more details are expected to come out in the hours to come. claire: this comes at a time when france is on high alert. the state of emergency was just extended by six months in the aftermath of the nice attack. kate: a very high security presence. for the past 18 months or so, across france, we have seen armed police and security personnel roaming the streets of paris and other major cities across france as well, guarding locations like schools, transport hubs, and religious sites of worship. this city, saint-etienne-du-rouvray, is a .mall town in the suburbs it is not a place that would have immediately been thought of as a potential target. we do not know if there was any security presence in the area. a place of worship which in theory is a potential target. we do know there is a very high security presence there now.

authorities are searching the surrounding area to see if there are any explosives or booby-traps are anything that could present a further threat. locals in the area are also "france 24" journalists thatat -- rome, wheres go to we are joined by our correspondent josephine mckenna. josephine, the vatican is condemning this attack, calling it barbaric. josephine: they put a brief statement on behalf of pope francicis, who i is said to b be shocked byby this s particular attack, also becacause it happed inside a churcrch. if t the reports a are true thae slit, its throat was is even that mucuch more

alarmingng. there is concern in recent weeks after the attack of nice and the recent attacks in germany. certainly very strong words from the vatican, and very concerned that it's to place in a place of worship. attack josephine, this came as the pope p prepares s to lead celebrations in krakow for world youth day. hadphine: we have assurances that security will be very tight in poland. there have been no changes to his itinerary. he w will be going aheadad, and hundreds of thousands arare expected t to gather there for s visit, which will be very significanant bececause he is mg his very firirst vis too auschwitz. it will be interesting to see if there wiwill be any changes a ar totoday's anannounceme. thank you very much. josephine mckenna in rome.

we can now go to a reporter in saint-etienne-du-rouvray, the town in normandy where a priest was killed. what is the latest? we are currently just down the road from the church where the hostage taking took place earlier. only moments ago, francois hollande and the country's drove throughter and were perhaps address the press later. two men armed with knives took five hostages during morning mass inside the church that is behind me in the early hours of the morning. in ais in northern france, smalall town of 27,000 inhabitants.

amongst the hostages were a priestst, two nuns, and several worshipers. according to the interior ministry spokesman, the two hostage takekers were neutraliz, shot dead as t they tried to lee the church. prior to that, they managed to kill one of the hostages, t the prpriest, a 92-year-old whose throat is said to have been cut open. another three hostages are wounded, one of them seriously. that is the information we have at the moment as to whether these two men were just low malls and acted on their own or whether they are part of a bigger cell. that is still being investigated. claire: have you had a chance to speak to locals for their reaction? we have not yet. we just arrived on the scene. what we do know at the moment is that the paris prosecutor has been put in charge of the case, and he tends to do with terrorism related cases. there is a possibility that this

is something that is currently being explored. we will be moving to this location where we hopefully will be able to speak with local residents to see what they feel about what happened earlier this morning. claire: give us a sense of what it is like in this town. it is a very small town, then? sanam: there are reports in northern france that there are some people known in the community as having converted to the muslim. converted to muslim. feeling, people are their reactions, it is something we still have to look into, but it is something that has taken the town by surprise because it is so small and so point. -- and so quaint. claire: thank you very much for that update from a

saint-etienne-du-rououvray, sona shantyaei. france is under a state of emergency in the last year or so -- is under a state of emergency. in the last year or so, we have seen an increase in security forces out on the streets, and sites deemed vulnerable. weren't churches g game safe unr the state of emergency? francois: you cannot protect all the targets. which do exist here it for instance, one year ago we had plananned attacks against christian churcrches, anand dura few days there were patrols in front of churches. you can imagine how many

churches are in france. you cannot be protective of too many targets. what can be done to protect people? we have seen three major attacks in 18 months. what can be done to protect the french? francois: you can put a soldier in front of every french -- the solution would be good quality intelligence. the attacks, like bataclan or nice, where someone is spotted by the police as at atial jihadists, or jail or has some criminal activities. the problem is not a long list

of jihadists. it is to have selective intelligence and to know which kind, which ones are likely to go into action. need deepery understanding of what the orders by isis, what is their mentality . supposing that it is related to isis. claire: i was going to say, at this point we do not know what kind of attack it was. about theknow attackers or what their motives were. this is not a question than of stepping up security, but improving intelligence. the government has come under a lot of criticism, particularly after the nice attack. that was not the case after the

first two attacks. it has increased funding for intelligence. honest, weell, to be a good system of intelligence in france. probably something like 22 involved in monitoring jihadist activity. one unified service with good intelligence capacity would probably be something better. claire: we will leave it there. francois bernard huyghe joining us. japan's worst killing in decades -- a knife attack leaving 19 people dead, more than 20 people injured. this is in the southwest -- this

is southwest of tokyo. the victimss were ranging in age between 18 and 70 the suspect has been identified, a former employee at a facility. he reportedly called for euthanasia for disabled people. our correspondent reports. man wielding a knife entered this center. people from the area are stunned. >> this is a very peaceful neighborhood. i could never have imagined something like thiss happening. i am extremely shocked. the suspect turned himself in at a police station two h hours later. police said the 26-year-old man was a former employee of the hospital. found a knife --

found a bag containing several knives in his car. he said he wanted to "get rid of the disabled from this world." other reports indicate the attacker had been fired from the facility. japan has one of the lowest rates of violent crime in the world, and attackcks involving weapons of any kind are unusual. this is the country's worst mass killing in decades. claire: there has been a suicide attack in mogadishu. thatili police say a bomber an explosive-laden car outside a u.n. mine action service officers. new the african union based in a bit issue. casualties remain unclear. -- in mogadishu. casualties remain unclear. in sudan, the vice president and

rival has been replaced, adding to fears of a return to civil war in the world's in this country. earlier this month there were deadly clashes between supporters of the two men. one less the capital. -- one left the capital. the democraticf convention, and bill clinton is set to take to the stage. ino addressing delegates philadelphia later, house minority leader nancy pelosi. they followed stirring speeches by michelle obama and bernie sanders. the first lady says hillary clinton is the president she wants for her girls, and called's former rivals on his supporters to put clinton in the white house. there is a lot of resistance. >> bernie sanders from vermont. >> the calls for unity. bernie sanders gave an impassioned speech at the democratic convention before a crowd of the emotional and

disappointed supporters. he said it is time to move on after months of bitter campaigning. mr. sanders: i understand that many people here in this convention hall and around the country are disappointed. hillary clinton will make an outstanding president, and i am proud to stay with her -- to stand with her tonight. thank you all very much. democrats are divided and desperate to heal their wounds after an embarrassing leak of e-mails showing that party officials favored hillary clinton from the beginning. throughout thegh day before sanders took to the stage. >> hillary clinton -- >> several speakers were booed at the mere mention of clinton's name. >> excuse me. excuse me.

>> first lady michelle obama appealed to sanders supporters, saying the democratic nominee shares many of their own values. obama: and i am here tonight because in this election there is only one person who i trust with that responsibility. only one person who i believe is truly qualified to be president of the united states, and that is our friend hillary clinton. other popular party figures are expected to call for calm and unity in the coming days, including former president bill clinton on tuesday and president barack obama on wednesday. claire: as you just heard, stolen e-mails from the democratic national committee's computer services have exposed the degree to which the democratic apparatus favored clinton over sanders. the fbi is now investigating whether russia was behind the hack. clinton's cap said -- clinton's

camp -- investigatingnow whether russia was behind the release of thousands of democratic national committee e-mails. speaking o on the sidelilines oa ,eeting in leo's -- in laos sergei lavrov denied the allegations. experts say they have reason to wereve russian hackers indeed responsible for the breach, based on evidence that the hackers using rususan internet addrees, , ruling --ch keyboards, and the time and hillary clinton was quick to put -- to point the finger at russia. >> what the experts are saying and what the experts said when this breach initially happened at the dnc was that they believe it was russian state actors.

what further experts are saying is that because they possessed the e-mails that russian state actors were feeding the e-mails to hackers for the purpose of helping donald trump. >> donald trump was swift to react and accuse democrats of trying to divert attention away from their own problems. >> the new joke in town is that russia leaked the disastrous e-mails -- stupid because vladimir putin likes me. >> president vladimir putin, leading some democrats to believe that the russian leader is working to put the real estate billionaire in the white house. among the people do to address the democratic convention this tuesday, african-americans whose children have died in clashes with police.

from philadelphia, jessica reports. sixtha: philadelphia, the most segregated city in the united states. she is 19 years old and she has already lost two friends to violent crime. >> if we do not come together now, our kids will be in nothing but a war zone. >> the rececent cases of unarmed black man dying at the hands of white police officers have made her more desperate than ever for change. going to be because i make a change for my race. >> kayla is studying criminal justice at the community college for philadelphia. she wants to become a police officer and change the system from within. is giving a class on race relations and justice. >> i am white. i have privilege. >> she describes life in america

as a game that is rigged. >> imagine being from the city and being minority. you first school and encounter that the teachers are not as qualified here. then i make it through school. youtatistics show that if are young, black, and mail, you have a one in four chance of going to prison. corporate successful lawyer. he helps african americans in need of legal advice. growing up in west philadelphia, kevin dealt drugs and survived a shooting before turning his life around. he wants to see the justice system reformed herein for that to happen, he says the democrats need to stay in power. >> the last eight years, eric holder and loretta lynch have

led the federal criminal justice system in a direction that has been beneficial for many people from the sort of communities i come from. at a state level, i think hillary clinton has the power to treat those coalitions that will finally give us an opportunity to get some change at our state legislatures as well as in the house of representatives. at the end of the day, in american politics, it is about money. knows howinton to get into local politicians. >> his best friend was killed by police. his first-hand experiences have taught him that education and america's racex relations problems. claire: time for business news with stephen carroll. bp has seen another drop in profits. 45% until the end of june for three months, compared to last year.

they are well below what was forecast for the firm. this coming just two weeks after bp declared a final bill from horizon deepwater explosion. a stronger outlook for the company has been outlined after six years of cost-cutting. ap has been suffering from the --mp in oil prices over the bp has been suffering from the slump in oil prices over the past years. monday afterd on the figures from the united states reignited fears of oversupply in the market. you can see prices are still far above those lows of under $30 a barrel that we saw back in january of this year. claire: what is happening on the stock markets? stephen: we are seeing oil companies feeling the pinch on the back of falling oil prices, and bp down 2% a short time ago. weouple of minutes ago --

are seeing small gains in london, paris, and frankfurt, a reasonably quiet day on the markets. claire: air frarance is set to begin of the strike tomorrow. stephen: two unions will stop work for a week. from wednesday, air france has canceled 10% of its long-haul flights, and 30% of its short-haul journeys. josh farley has more on the pilot strike in june. josh: as the height of the holiday season, passengers face the turbulent week. plan to go ahead with a seven-day strike from july 27. >> the first time they have proposed an agreement that only runs for 17 months. but it fails to guarantee our career evolulution. >> last year air france klm

posted its first profit in five jumping fuel prices as well as internal cost-cutting measures. the airline has been struggling to compete with low-cost pan-european airlines for short flights. passengers at one of paris' major airports reacted with dismay at the news. see 30ike is due to short haul flights canceled. >> it is pretty worrying just as we are fighting out -- our flying out as well. >> it is a shame it happens during the holidays. it hurts everybody. decision to walk off the job for potter days in june cost -- 44 days in june cost 20 million euros for the company.

stephen: a band that has offered to take over sab miller. sab miller

announcer: this is a production of china central television america. mike: whwhat makeses a visionan? for some, it's the passion for innovation. for others, it's seeing opportunities to make a difference when others have given up. this week on "full frame," conversations with visionaries who are using their global fame to make an impact. i'm mike walter coming to o you from the heart of new york city's vibrant timemes square. let's take it "full frame."

our first guest is an academy award-winning actress whose starring roles in films like "dead man walking," "thelma and louise," "the client," and "the rocky horror picture show" have demonstrated her range in versatility and cemented her place in pop culture. take a look. >> the rocky horror picture show. man: this isis my fiancee, janet weiss. janenet: ♪ touch-a, totouch-a touch-a, tououch me i want to be dirty ♪ susan: take a deep breath... [inhales] lelet it all out. now we're goi to o pick up ouour instruments,s, and when i i couo 4, we're going t to play thehe.t of thihis thing.g. 1, 2, 3, 4. thelma: louise, shoot the radio. [gunsh]

the poce radio, uise. loui: got it. susan: you boys atmpted to interrogate a child outse the presen of himothther whout r coconsen if i ne anynythg from you boys, like the truth, well, i exexpect to get it. you blame e e govementnt, u ame ththe ugs,s, y blame blacks. atat abo matatth poncelet? what, is he just an innocecent? if youou do die, a s your frienend, i want to help yu die withth dignity, and i don''t see how yoyou can do that unless you start t to own up to thehe t yoplayed iwawalternd h ho'ss death. you u nt to take 12-yearld gi to a pel jam coert on a schl l nigh woman: i jt t thout itit wld beometethi nice e at she a i couldodo togher.r. sun: it's s ridilousus. man: of courseacackie's s gog toe e hoste, irratnal. girlpepearl m? susan: yh.h. girl: on s schoonighght? sususa mm-hmhm we are going out. girl: , , mom! mike: a additn to herork in front of and behind the cameras, susan sarandon is also an activist and humanitarian. she dedicates her time and resources to advocate for social and political justice. she's an outspoken voice on issues, such as capital punishment, world hunger, hiv and aids awareness, and lgbtq

rights. she served as a unicef goodwill ambassador and goodwill ambassador for the food and agriculture organization of the united nations. she recently shifted her focus to helping those affected by the devastating earthquake in nepal. more than 9,000 people died in april of 2015, and those who survived, they are still struggling. susan sarandon saw that firsthand as she volunteered with live to love international. she was on the ground with the nepalese people and hopes to encourage tourists from around the world to visit that beautiful nation. she's here to talk about her illustrious cacareer, her r rect work in nepapal. we want t to welcome susan sarandon to the show. susan: thank you. mike: do you feel like your life just flashed before you? susan: yeah, i feel like i should lose weight, too. i'm looking at... mike: you know what's amazing is we talked about your range, and i'm not a a stalker,r, but t just so happened i was flipping across the tv the last two weeks--and i knew i was going to be interviewing you--i saw you in "the calling" as a police detective, and then i saw you as this grandmother in "tammy," and i'm just amazed at

all these different roles. i mean, is it serendipity, or are you just... susan: i did 3 alcoholics in a row that summer. "tammy" and "the calling" were one of them, and i forget which the other one was. well, you choose from what you're offered, and i don't like to repeat myself, and, you know, things change year to year what you're offered, and, um, yeah. i mean, i see myself as a character actress so i like to do different things. i'm not really a very y interesting personality, so i don't--you know, there's some actors that just play themseselves and do that very well, and then there are other people that are more character actors, and i'm kind of that. mike: you know, uh, i had the opportunity to interview geena davis last year, and she talked about "thelma and louise" and that people still come up and say stuff to her, and--and the great thing about having great roles, it's almost like a comet with a tail. i mean, you were telling us when the clips were running that you still run into some of the band players--now they're all grown up--in that one scene. um, do you think about that when you're in a role, that, "jeez, this thing's going be around for so long,

and i'm still going to be stopped about it," and you must still be. susan: if only you knew which movies were going to turn out to be around for a while. i mean, thanks to ridldley scott,i mean, "thelma and louise," he put us in a veryry heroic kindnf setting inhahat anmadede a great movie,ndnd it-nd i it lasted, but erere argreaeat parts th a are imedidioc films, a----or tre a areood little filmshahat thstududio don't pppport,nd s so ey disappr,r, andhen n pele finin themater. so i thinkouou learn prettyoooon, prey y earl in a caer to inst in this biness in t doing o it and leto of whahappen to it because you have no control over it, and there's--you know, it's just like the rest of the world. there's no justice. so, um, you never know. you know, you can have a really great script, and it could get ruined by the music they put in, or the editor isn't funny. you can have a mediocre script that, you know, gets better. that doesn't happen too often, but--so you don't know, i don't think, and you certaininly--i

mean, i have been very lucky in that or strangely zelig-like enough that quite a few of my films have had some kind of social, i don't know, turning point where they became something--that meant something at that particular time, and so that helps them also stay around, but certainly when we did "the rocky horror show" for $1 million, nobody thought it would be resurrected a number of years later and still be around as the longest running film, you know, and "thelma and louise," we thought we were making a little cowboy movie with girls and trucks and didn't understand that people would be so offended. "pretty baby," i had no idea that would end up doing what it did, and "dead d man walking," we were just so happy to find a way to do it, and then when people actually sat through that to the tune of over $100 million, that's a difficult film. mike: yeah. susan: and the fact that it changed the dialogue--i mean, we hoped it would make the conversation about the death penalty more r real for both sides, um, but we had no idea it would be economically, you know, a success at all, and tim

did a brilliant job withth that, and then, um--with the script and, you know, but, no, you don't know. i think you just do it because you love it, and you try to find adventure and challenge in every part that you do, and--and, you know, now i'm--i mean, i--i did a movie recently where i didn't have to die or help someone die. that was really refreshing, because you get to a certain age, and suddenly, you know, everything changes. um, so i was surprised to be off finding those scripts, you know, where there was a romance and still. mike: but it's got to be a great feeling to work on something that you're passionate about, and the issue's is so important, and--and given the fact that you know about the ebbs and flows, you just never know, and then for it to be such a huge commercial success. susan: well, i think every film is political. every film either reinforces sexism, a ageism, racism, or challenges it, and you don't notice the ones that support the status quo, you notice the ones that challenge

it, but every film puts an audience into some place where they're, you know, looking at their lives, and anything for me that encourages an audience member to be the protagonist inn their own life, i've--that's what gets me excited, and so if i can find that and it's something that i haven't done before, you never know. there's so many, you know--you never know what the director is going to do. i i think i was i in geoe roy hill's only bomb with robert redford, "the great waldo pepper." so you--you know, you just never know. as i said, it trarains you not to cae about the success of what happens later and to do it for the sake of doing it, and so if you're not passionate about playing that person, if you don't--if it doesn't scare you a little bit, then i think you shouldn't do it. mike: you arare also a ping pong plplayer, and,d, of course, our audience loves the fact ping pong diplomacy, big huge step between china and the united states. what is it about the sport that you love, and--and is-- susan: well, first let me say i'm more of a propagandist than a player. i'm not that great. i

mean, there's a rumor that i'm great, and we'll keep that going, but i'm really not that great. um, first of all, little girls can be t theirads. i mean, c cuts rossss by typepe it cs acrossgege. i's something you n n playorevever it'nonot exnsivive.ust ababt erybody s had me exriencelaying pg pong. thlearningurve is ry quick into a rtain int, so, you know, the ubs that we havespspin, ich h is franchising now alovover, u know, u can gondnd notustt drink, andouou--yohaveve something too o on aate.e. y have sometngng youan d do th your family,utut i le ththe fact thait'-you kno it'-if you rely dece to be very good, um, that it doesn't matter if you're a big, big muscle-bound guy, and we've been giving tables to the schools, the underserved schools in new y york, and it's nonow a scholastic spoport in 4040-some schohools, so you can actually get credit, and, um--and they were telling g me, when i gave one of the donations recently, that 95% of

the kids that joined the ping pong club, or whatever it's called, have never joined anything before. so i think it's great because it--you know, it is kind of a solitary thing. i mean, you play face-to-face, which is what's great for dating. you don't have to wear someone else's shoes, and at spin, we have food and music, and so you can kind of fool around, and then if you want to be serious, you can come back and be competitive, but i think the game itself is very under--welell, it's--it's--you know, it's an olympic sport. it's not underrated, but a lot of people thought it was just so weird and that only dorky kids did it, but now that all the dorky kids are ruling the world, i think--and we've made it sexy, and--and now you can play and not be in the closet about it. mike: what is it about that papassion? i mean, how do--how o people connect with that passion in you, and you have--it's varied. i mean, it's not just this one-- susan: but in the business i'm in, you use your imagination. if you use your imagination, then that leads to empathy, and once you can imagine what it

would be like to send your kid off to war, then you empathize with the mother that's being asked to do that. so it's a natural progression, and as somebody who i use the term artist very lightly, anybody that's in a creative pursuit is outside, anyway. we're kind of outsiders, really. i don't care how much you try to pretend you're in the middle of things. it's your job, i think, to observe and to give people an opportunity to reframe their lives and get information, and it's the kind of business that can really use you, so i prefer to use it rather than be used, and, um, though i'm not really an expert on anything, it gives me the opportunity to just shine a little light or give a little voice, like today, to people that maybe aren't as media-connected, and i find that, you know, people have such open hearts and they're so generous and--and really want to know, but they're just not given the opportunity, and most of the news is corporately ownened and not particularly interesting and kind of on a loop and so there's a lot of little stories that get lost,

and that's why we drag up all these old celebrities at the u.n. or wherever just to be able to put a focus on an issue that it wasn't getting traction before, and unfortunately, that's the way it works these days, so that's what we do. mike: we all saw the imagery that this horrendous event in nepal, um, but a lot of us are kind of--we watch it, we feel paralyzed, but that's not you. i mean, you went there. talk to me about going, what you expected to see, what you saw, and what does that do to your psyche, i mean? susan: well, i've never been to nepal before. i actually had a trip planned, and the earthquake hit two days before. um, it's a long way to go. it's not easy for everybody, and honestly, you know, everyone can't just pick up and go and be helpful. um, sometimes if you show up in a disaster area in the united states, if you can't provide a service, you're more of f a problem if you're another mouth to feed and

shelter. so you have to be able to make surere that if you arere going to go somewhere, what your job is and if you can help. um, in this case, i have friends that are there, um, his holiness, uh, and--and live to love is one group, and then pushpa basnet, who i had nominated for the cnn hero and who won and was--had built an orphanage, and she takes these kids out of prison, because in nepal, if you go to prison, your kids go with you if they don't have anywhere to go, and so her house collapsed and her kids were in a field, and i was very concerned, and his holiness arranged for me to go and--and--and the nuns protected me, and i had a great stay and could go up and help deliver rice and--and oil and--and baby food up in the hills and also see--the other part of my mission was to show people that everything hadn't fallen down. i mean, there's still such bututifulemplples and nepal isucuch an extrrdrdinarcoununtr i meaea ththe's ve few couriries tt

you cago to th h have mucuch history and--andrere so beautiful, and when the monsoons end, they'll be ready to have peopleome, and--and so part of iwawas tobecacaus the clips th w we we getetti, i di't pect to e anythi stding. mean, we jt kept seeing the same buildings falling over and over, right? so, um, i think i was worried about, you know, how dangerous--people didn't want me to go because they--well, the whole time we were there, there were still... mike: sure, aftershocks, right? susan: aftershocks the entire time, 4-4- and 5-something, you know, but this was right at the beginning. when my son--my son went after--jack henry went afteter i came back toto hel pushpa, and, um, he didn't experience any aftershock, so i think it's--you know, it's calmed down, um, but i saw an amazing resilience of--i mean, people are having to take the bricks from their houses that haven't completely fallen down and take the cement off them and pile them and rebuild, and it's just--yoknknow, ''s--it'ss a--it's a big deal, um, but,

um, i was happy to know what i could do to--if--if it meant, you know, to--to skype from there and to really just bring the message back that nepal is still worth traveling to and, um--and that they're going to survive and that, you know, these--we've--we've gotten some grants for pushpa so we're trying to rebuild and--and just to g give a hand, to sing with the kids and play with the kids, and i brought chalk, and we got donationsns of health fod bars, and i brought--my son brought boots the next time that we, you know--we were just--because--just to get things to people was very difficult, so we were also carrying as much as we could to help i iediately.. mimike: well, getting stuff to people is still a bit of an issue. live to love, very much involved with that. you're very much involved with them. carrie lee from live to love is going to join us right after this short break, and we'll continue our conversation about the latest efforts to rebuild nepal.

want to welcome you back to "full frame." susan loves our music, by the way, and joining us now is carrie lee. she's with live to love international, and so the two of these obviously connected and know a great deal about what's going on in nepal. we're going to continue our conversation about a country that was really hit hard, hammered by this earthquake, and, carrie, i know that your people are still on the ground. they're still in tents. kind of us give an update, because susan makes a really good point, you know, that this news cycle, it's 24 hours, unless it's caitlyn jenner, and then it seems like it goes on for forever, and this important stuff tends to kind of go by the wayside. give us an idea of--a scene-setter, if you will, of what's going on right now. carrie: absolutely, and first of all, thank you to "full frame"e" and susan for keeping a spotlight on nepal. it's

probably the most important thing, um, for us in this development of relief work, and susan, who has done movies about helping people die, well, she's done a lot of work on helping live in nepal, so that's greatly appreciated. um, on the ground now is monsoon season. we--live to love focuses on particular communities where there are a lot migrant workers. a good chunk of nepal's population goes abroad for work, leaving women, children, and the elderly to cope with recovery. so those arere the communities that we focus on. mike: mm-hmm. carrie: um, once monsoon season is over, and i think nepal--i'm prettyty convinceded that nepals ready y to take on tourists. y u know, we were first responders at one point, and now we're sort of coping with monsoon season and making sure that there isn't widespread disease and getting everyone sheltered and building up, and by the time monsoon season--season is over, umum, we'll be e ready for tourism. mike: let me ask both of you,

and, susan, maybe you can take first crack at this. it seems to me that story's always, the--the battered, you know. they're--they're battered, and i think the one story that often is missing, and i'm sure you saw it firsthand, is the resiliency of people when they're dealing with something like this. so what were some of the takeaways for you? susan: well, you see people sharing. i i mean, when wewe wet up into the hills, uh, the nuns were so organized, and they had everyone's names, and so we were meeting with all these people, and they were taking care of each other and finding the people that weren't there, so i think there's s a lot of cooperation. um, you did see a lot of women and children. i think that, you know, so there--whatever the males were in the village that were still around or the young guys that hadn't gone off to work were helping taking care of, you know, some of the older people, um, but i see it in the kids, too. you know, i see how much they resespond to the love t tht pushpa gives them, even though they've had very difficult beginnings and even though they've had, um, a very difficult time surviving and

have a bit of a stigma on them. they--they're--they're very resilient, and, um, i--i--i think that there have been so many plans. i mean, his holiness came up very quickly. they were coming up with a--not just a plan, but a, um--the actual tin roofs and things to build to rebuild and how--how they would shelter these people because ththe pressure was knowing that the monsoons were coming, so, i mean, it wasn't as if it was total chaos, you know. it--there was a lot of need, and there was a lot of devastation, but there were also a lot of minds that were figuring things out. mike: yeah, and the strength of the people, i mean, you must have seen that, as well. i mean--and you--and you--and people on the ground see it every day, i'm sure. carrie: it--that's absolutely right. um, they're survivors, you know. the--the himalayas is--been critical to stabilizing that region, and it's often overlooked, and the nepali people have given so

much to the rest of the world in terms of culture and tradition and art, and now it's time, i think, that people give back to nepal. mike: and i've t talked to people, you know, shortly after the devastation about what it's like to come into an area that's been devastated by a huge earthquake or a tsunami or whatever, and that--that rebuilding stage is--is so lengthy, and, as you said, the spotlight goes off. um, any idea how long it's going to take the--for nepal to get back up on its feet? because this person was saying one of the things that you hope for anytime you go into a situation like that is a really strong infrastructure, and in nepal, there--it's not as strong as you'd like. so i'm sure that adds to the layers of complexity. so what was your sense coming away, susan? susan: um, well, i think--you know, i think that there are a lot of individual groups that are helping in very real ways. i mean, look how long it took us to deal with ground zero,

and that was bureaucracy and some corruption and everything else, you know, and--and what i saw therere was that the--the difference was made by individuals who were going out when i was down there for months and months. there are individuals going out and getting pizzas and, you know, before anything could come in, and i think that that's the strength of nepal, also, is that they're not waiting for the top to come and do it. there are all these on the ground people that have--have very quickly and very efficiently found ways to deal, uh, and to build, and--and, like i said, you know, one of my jobs was shopping. i took the nuns shopping to go to these really cool little crafty places and stuff because we wanted people to see that there's a lot that's still up. it's not--there's hotels and there are restaurants, and, you know, there was a lot of devastation, and we can't minimize that, and there is a great need for money to keep coming in, but it's also--it's important not to just write it

off. mike: you know, i think susan's hitting on something that's really important, and we saw this with haiti, where, you know, these big institutions come in, and they're going to do everything. it--it really takes the people. it takes this collaboration for it to work right and-- susan: but even in haiti, like, the money didn't get spent by a lot of these big groups, and artists for peace and justice that i work with in haiti built a high school over the years since the earthquake and have gotten in there and done things, and, again, it's--you know, you--if--you can't go into a place--anytime you're trying to do help, you have to have a really good relationship with the people that live there. you have to understand the culture. mike: exactly. susan: you have to understand how to get things to them not only physically but psychologically. you know, you can't just go in and be big and bulky, and--and then i find that there's--you know, i saw one of the big agencies that i won't mention, but they were staying in the best hotel. they were all eating these great lunches while everyone else was scurrying around in nepal, and

so i always say if you want to help, find the groups that are in there that have the history that--and see what they do and investigate where you're putting your money, and that's why i stand behind this group and pushpa because i know, you know, therere's not a lot of overhead. i know that they know what they're doing. i know that the money goes there, and that's really important if you want to help. mike: and one of the things you're advocating is tourism. i mean, you knowow, like--and, carrie, you had a chance to chat with me about this, too. i mean, yes, it's--it's hip, but as you mentioned, you know, hotels are still there. it's--it's a good time to go back. that's the lifeblood of--of that country in many respects. it's really important that people support it in that way, as well. susan: absolutely. mike: yeah. and--and you see this as critical, as well? carrie: i do. i do. you know, it's--it's not just about getting first aid. um, it's not just about rebuilding buildings. it's about empowering the peoples to have a livelihood and empowering the economies that need to be jumpstarted again, and this is a great opportunity, also, to

empower women and children who haven't had economic opportunities before to be able to have a fresh start and partake, um, in--in the new economies that are going to risese. mike: and come back even stronger. susan: that's a good--yeah, come back in a different way than there has been and actually see this is a rebirth of new ideas and better ideas. you know, sometimes when things have to fall apart to be rebuililt in a more interesting way. at least that's what i'm hoping as i look at everything falling apart, um, and here, too, that it gives you a chance to regroup, to reboot, to rethink, and that's a great point that you can start all these little industries for women that have been so successful in so many countries. mike: susan knows how to sift through and find organizations like yours. what's your suggestion to people out there who may be watching and--and want to actually connect with the right kind of organization? carrie: you know, i believe in investing in ngos that arere flexible on the ground and that are alreready part of the indigenous fabric. so live to love has been in nepal since

inception. we're a big part of the himalayan community. you can learn more about us at livetolove.org, but also keeping the spotlight on nepal, keeping engaged in what's going on, and, um, keeping the awareness wheel going is very important. mike: and, sususan, you gave, yu went, you were there, you were on the ground,d, but--but you get, as well, when you leave there. what are some of the takeaways, the--the lasting images or things that stay with you? susan: well, i--first of all, i'm moved by everybody that helps. i'm moved by the way the communities bond together. i'm moved by pushpa and the kids and how, you know, in the--in the face of everything else, these kids are so hopeful. it's so easy in the world today to lose faith because the stories that get all the--all--all of the heat are horrible stories and the worst of humankind and the worst of greed and selfishness and everything else, and so when you go to a place and you see people--and

it's funny, because, for instance, in new york--and i'm a born and bred new yorker--the same people that you see building houses for habitat for humanity were down at ground zero. i mean, it's--the community of bad guys is all the same, and the community of good guys is all the same, and--and i think that really it's so selfish to get involved in these things because it gives you hope at a time when that's really difficult to have sometimes when you pick up the paper and everything's so overwhelming, and so i came back just feeling like i had been to a different world where i wasn't so important, and people were gigiving everything they had and--and joyfully. you know, i think the misconception that people have about do-gooders, every country i've ever been in, they're just the most passionate, happiest, most celebratory. i mean, his holiness is laughing all the time in the face of everything, and so something must fill you

up from--f-from having a connection, a passionate connection with your country with something that you believe in and with being able to see that you affect even one life, you know, and turn someone around and give them options that they never would've had with just a little bit of money, too, or just a little bit of time to empower these people that are--are doing it the real way. i mean, i'm just a little dilettante compared to what people that really dig in and do these things all the time, but, um, i left feeling empowered. i left feeling grateful that i could be part of it, just being very, very grateful for, um, all the support that the nuns, my posse, the nuns were great. these young women that just glow because they're connected to what they want to be connected to and, of course, his holiness and pushpa and the kids, so i came back. i hadn't slept at all. i was completely turned around. seriously, i was

on the verge of hallucinations, i think, but i never slept, and i never felt tired. i really just--you know, it's a big trip, and you're completely in the wrong day or something, and 15 minutes--like, it's a day and 15 minutes or something crazy. carrie: well, i just saw the kung fu nuns yesterday, and by way y of bacround, u l live love has on ouound ptners. w callhehem unficicial the k kg fu nuns. thearare thnunsns o the druk o orderandd traditiolllly, ithe e hilayann region, nunserere suervivien to men a d didn't t ha much h a leadshship re. h his liness, the gyalngng drua, who sun n has en r refring to, cicided e empow thehese men to take leaderipip rol, and fofortunely,y, me consvavativeockeketsere quque upset,ndnd the nununs ar thehe brunt a a lotf acactsf violencehihis honessss, e gyalwangrurukpa oughght ng and hard owhat to a and whether was timtoto bac down but deceded, inead, to ain thesnuns in the art of kung fu,hihich--ich h al gave

them a l of physal self-condence, a now ey' local re modede in thr villag, in comnities the've tveled e world d did monstrions at ympic park, atxford unersity, t the eat partas they've no-since 've iested, since e lineage d his holine and theommuni inveed in poweringhese nuns a--and givi them a sense of confidence, they felt strong enough to be first responders, and they're the ones that are river rafting supplies to the most remote villages. it's a great example of what women could do i in this region. they've been traditionally overlooked, and now they're paying it forward. mike: well, we've got two great women here.... susan: thank you. mimike: growing that community f good guys, and it's good to see, and thank you both for coming on... susan: thank you foror having u. mike: anshararing your s storie. really apprereciate it. coming p next, we'll meet another female visionary working to make a global impact.

the american magazine "people" calllls her, quote, "the most famous woman in china," while "time" magazine proclaimed her "the queen of the middle kingdom." chinese-american yue-sai kan is an award-winning television host and producer, fashion icon, best-selling author, humanitarian, and successful entrepreneur. she's been a figure in both chinese and american media for decades. she produced and hosted the chinese series "one world," making her the first american to host a tv show in china. that made her a household name in the c country. shortly after, she launched her own cosmetics brand, the first foreign-owned makeup company in all ofof chin. it soon became the leading cosmetic company in the country. in 2001, unicef named her its first and ononly chinese-american say yes ambabassador foror children.n.'s also dedicated to several chinese nonprofit organizations which are commmmitted to the betterment and advancement of

women and children, and she's launched her own initiative to build schools, libraries, and award scholarships to outstanding underprivileged students. joining us now to share more about her remarkable cross-cultural life is yue-sai kan, and welcome to "full frame." yue-sai: hi. hi, michael. mike: so tell me about your childhood. i--i--i get the sense that art was a big part of it. tell me about growing up and--and whether or not that contributed to who you are today, you think. yue-sai: i'm sure that childhood is very important for justst about anybody. my mom was never a, really, artist, but my father was. mom was a-a--an--an enabler for--for artist. my--my mom was very supportive of my father, and when i wanted to play the piano, for example, she would drive me to the school--to the--to the class every day. i mean, she would arrange for the piano lessons and everything. so in a way, you know, my mom was most instrumental in helping us to become very artistic, but my father was a true artist and a true gentleman. . you know, he's a typical chinese gentleman.

he--for example, he played the erhu, which is a chinese instrument. my father paints beautifully. he's a--he's a--he was a calligrapher, and so we grew up when we were little just with a lot of art in our--in our family. we had a--we had the piano first before we--we had a tv. so it was really fun, and--and i remember, we used to have his paintings all over thehe house, so having paintings in the bathroom is a--is a normal thing for us, and--and, you know, and in china, you don't--you don't see that, actually. so we--we feel very privivileged that we grew up in such a family. mike: so you start there, and then at some point, you enter a beauty pageant. so it's not just art, it's art and beauty, which is why you are who you are today, i guess, in a sense. tell me how that changed you. yue-sai: well, i was in school in college in hawaii at byu, and one day, they came to me and said, "the school voted you to represent the university to run in a--in a--in a beauty pageant." i said, "beauty pageant?" " i was 19 years old.i was, you know, clueless. in

those days, 19--i was a clueless 19-year-old. ok, we had no internet, no nothing, and--and, of course, you know, as typically a girl who grew up in a chinese kind of family, my mom never thinks that a girl being beautiful is an important thing. you know, we never even thought of that. so when i entered the contest for the university, the--i--it was the first time i got in touch with somebody who actually taught me how to use makeup. wow, i--i said, "this is magical." i can change the way i look by using purely a lipstick or eye shadow, you know, to--to--to change. if i don't like my nose, i can make it differently. you know, i'm--it is just magical. i was--i think it has a lot to do with the--later on, the fascination i have with cosmetics, and then, of course, when you're being trained for--for--for a beauty pageant, they teach you how to face the camera, how to answer a question, you know, even difficult questions, and--and as a young woman, i

really was very impression--how do you say it--very--very impressed by this whole entire experience. so i think it had a lot to do with what i did in the future in television, and if i didn't have that beauty pageant experience, i probably never would have had my careers afterwards. mike: yeah. they were all kind of building g blocks along the way, in a sense. so tell me about going into tv, and, um--and--and the interesting thing is that you have been able to bridge this--this--which is astonishing, in a sense--in that that you have been able to capture an american audience and a chinese audience. there's very few that can--to claim to do that. so tell me about the--entering tv. how did that come about? and was it--was it just happenstance, or was this--this goal-oriented? i'm going to go--tv's next or... yue-sai: no. no, no. no, not goal-oriented. a friend ofof mie came to me and said he was starting his--the first chinese language cable show--in those days, cable show--and for

chinese, in chinese, and he said, "can you come in for a day every--every--every week? and i'd like you to interview some people and do some [indistinct] translation and read some news for me and all that," and i said, "oh, this sounds like a lot of fun." you know, and i took it very--very lightly, but i did give a day of my life in those--in those two years, and, i must tell you, that was a lot of fun. you know, television is a lot of fun. you know, before you and i do this interview, it didn't exist, right? our talk did not exist, but we are now, right, creating a story, where--where, i think, that maybe hopefully millions of people will see. so to me, it was just a fascinating process. so it got me so fascinated that i decided that i'm going to just really do it, and--and besides, when ni was doing that volunteer job, and i would do a show on qigong, and the phone would ring off the--the hook, and i would do a program about how the chinese will celebrate a

chinese new year, all the dishes, and all that. people will ring off the hook. so i knew that there was a group of americans in america who are very--who were very, very interested in asia, and, you know, there--yeah, there was absolutely no place where they could get--get that information. so i started a show called "looking east," and that show--and later on, we filmed all over asia, and it was actually really the forerunner of anthony bourdain, you know. mike: yeah, right, right. so tell me about "looking east." i mean, was it--was it a hard sell? i mean... yue-sai: no. there was--of course, everything, as we know, is hard, and there's nothing easy about doing anything, actually, because you have to find--i was the boss, and i had to find the cameramen. i have to find sponsors. i have--i have to do all of that by myself because i--it's a small little company. so it was not so very easy. the hardest ththig is when we went around the country, around the world, you know, really to do local shooting. that is--that's, you know, it's hard, because, you know, especially when i started

shooting for "one world" and went all over the country, language is a problelem, you knknow, and financining is a problem. it's hard--it's not easy. mike: so you had mentioned you were a clueless 19-year-old. do you think you were clueless whwhen you entered the tv business, if you knew how difficult it was going to be? yue-sai: totally. totally. totally. but, actually, what was encouraging is that i got a phone call from mike wallace, and he said to me, he said, "you know, by--by circumstancece--by happenstance, i saw you on television interviewing an expert on netsuke--" you know, the--the japanese, you know, the--the carv--carving--and--and he said, "it was fabulous." he said, "it was--" and i--and i--and i was so stunned, you know. that was mike wallace, and i said, "mike, can you do me a favor? give me--give me that [indistinct] in writing so i can put it in my--in--in our material." and he did. he--he said--he said, "yue-sai is a--an unsung glory on television." you know, wow. i said, that was very--it was very encouraging. i--i

enjoyed--i enjoyed television only because it's--it is--again, you know, it's aa magical media. you know, it--it actually make things happen, you know, at that moment, itit--but the key realally i prododucing both for china a and united states, it's--it's a--the difficulty is that i need to make sure that i know exactly what the american audience want, and--and i also have to know really what the chinese audience wants, and when--if i know that clearly thatat i can prepare t the programs. if i don't know, it--the biggest problem sometimes is that the people don't know the cultures well enough. mike: right, right. well, they want different things, don't they? the u.s. audience and--there's probably some similarities, but there's probably differencnces, too. yue-sai: yes. yes, absolutely, you know, and that's where communication sometimes breaks down because some of those translations are different, you know, and--and--and--and the--and the mindset is different. mike: do you think you had a sixth sense going in of what

the audiences wanted or... yue-sai: no, no, no. mike: was it something that evolved over time? yue-sai: well, for example, when i was d doing "lookining east," i know american culture very well. i have lived here for many years, so--and i happen to know the eastern culture, so i was able to say, "oh, well, this would be very interesting for the americans." so that was a big help, you knowow, and when i was producing for china, the same thing happens. i said, you know, "i know what the chinese people want to hear, and i know i can produce that for them." mike: you've hadad such an amazing trajectory, and yet one of the things i think is interesting--before the broadcast here, we were chatting--you just went to the state dinner, and you sat next to henry kissinger, and i'm just thinking without henry kissinger and richard nixon, your life would have been entirely different. yue-sai: yours, too. mike: and--yeah, exactly. you're absolutely right. and here you were sitting next to this man, who many--in many ways opened so many doors to you and really created this rich life. did you talk to him about it at all?

yue-sai: yes, of course. i--i have interviewed henry kissinger twice, and we--we have done a number of things together, and i see him all the time, and in fact, he has incredible memory even at this--at this juncture. you look at him, he's sort of a little bit slower and, you know, is sort of stoopy, but--but he was very alert. you know, when he--when obama came over to o talk to us, obama waws actually asking him for his opinion about something. so kissinger is an extraordinary person even today, and he reminded me a few days after the state dinner when i saw him again, he said, "didn't we like ne-yo," you know, the performer, and--and i thought, wow, this guy really had an amazing--and he said, "wasn't that a great dinner we had?" it was a great--he was wonderful, and he said to me, he said, "you know,w, obama hates s state dinnerers." he said to m me, he said, "i've had--i've gone to hundreds of state dinners," he said, "all through the years, and do you know that obama really does not like state dinners?" he said--and i was

laughing, and i said, "if i were obama, i wouldn't, eitithe, because he has t to shake 200 pairs of hands, and who the hell wants to do that, right?" mike: [laughs] that's a good point. o one of the things i wat to talk to you about is cultural dialogue, um, and--and communication, you know, this bridge concept, again. one of the things i think is really interesting about the chinese president, president xi, of course, years ago, went to muscatine, iowa, had this amazing experience. doesn't even have the--doesn't have the language but still has this connection, and he's, of course, pushing a lot of that, the back and forth. in muscatine, they--they have pictures of him everywhere. i mean, they--you know, this little town in iowa, they're in love with china and the chinese president. talk to me about opening that door, because you've been successful with that, and cultural dialogue, the back and forth, how important is it? how much more needs to happen? yue-sai: oh, a lot more. mike: yeah. yue-sai: a lot more. i--i think that still americans know very little about china. i was

talking to the chinese consul general here and this brilliant woman. i s said, "what is the difficult--most difficult thing for you?" she says, "most difficult is to make americans understand china," because there's a lot of misunderstanding, a lot of fear about the power of china today, uh, and--and it's the--it's--it's a--it's a lot of misgiving. i think that a lot has to do with the fact ththat they don't rereally travl between each other that much. you know, if--if--if you take a trip to china and you see it for yourself, what china is all about, and you are connecting with real chinese, you know firsthand what it is happening, what is happening there and what they are really like. the same thing as coming to united states. you know, there's a--i see a lot of negative things in the--in the social media. there's some chinese say terrible things about, you know, americicans. i said, "i wish they would come here, speak the language, and understand what they really

are." so wonderful people. truly, americans are wonderful people. mike: and the same is true of the chinese. yue-sai: exactly. mike: i mean--and--and itt really is. it's--it's frustrtrating. i mean, i imagine it must be more frustrating for you because you've been doing this a lot long than i have, but sometimes i sit there, and i talk to people. i'm like, "what planet are you on?" i mean, the ignorance level--and it--and it gets to the heart of what you're saying. i mean, if you travel there and really see the country, which i've had the good fortune of, and you have, as well, um, there's so many similarities. there's not as many dissimilaritieses. yue-sai: well, president xi jinping said something really that--that i remember very well during the state dinner. he said, you know, "we have a lot of things in common, america and china, and yet we also have many things that are not--we don't sesee eye to e eye, but we must have a very, um--we must have an open mind about the things that we are not in agreement with and try to resolve these agreements, so that when one adds one, it is more than two." i thought that

was just the most impressive thing. you know, it was a--it was--it was--it was exactly, i think, how he feels about our relationship, and if--if we can take that as an example of how we should look at our differences between you as an american, i think we will do very well, much better, actually. mike: you--you were mentioning to me that you're very involved inin--in charity work. you just did an event, i think you were sayingng, with brent scowcroroft here in--herere in the u.s., but you do it in the u.s. and china, so i want to ask you about how--what are the differences there in terms of doing charity work in both countries? yue-sai: oh, charity by itself is really something very new in china. america is a giving country. it's one of the most generous countries i know. it's--the americans compared to the europeans, for example, are so generous, and there is a culture of giving, and you look at these big, big, big entrepreneurs in the old days. they were already beginning to give a lot of differences, and just look around america. you know, you'll see how much

is--how much giving is done on an hourly basis, a minute basis. you know, the americans are great givers, and china, you know, because of communism, you know, the chinese--the--the--the doctrine is that from the day you're born, from cradle to grave, the government is supposed to take care of you. that is what's supposed--that it's supposed to do. so when the work--the idea of charity first came, there was a lot of embarrassment from the government's point of view, that they--they are--that they are unable to take care of their citizens. it's very interesting, right? mike: mm-hmm. yue-sai: and now it's very different now. i have been doing a lot of charities, and especially in the last 20 years, people are changing. people are changing. well, of course, i can say that a lot of people are doing auctions at an extraordinary amount of money--for an extraordinary amount of money because they want the television to be on them, you know, because they want everybody to know how rich they are, but the same thing happens in america too, right?

mike: it sure does. yue-sai: it sure does. so they are beginning to be giving. they are beginning to understand the value of giving. i think that this--this is a--this is a v very good beginning, and i find the chinese really quite generous. i have no problem doing our charity in china all--i mean, every year, we do extremely well, and sometitimes, i have hd an incident where prince robert of haut-brion gave me two cases of wine, amazing wines, to auction. we--our auction--the--the success of our auction, the money that we raised with those two cases were bigger than hong kong. mike: wow. yue-sai: they have the same two cases. so--so i am very impressed with how generous the chinese people are these days. mike: let me ask you one final question, more kind of for my own edification. um, you've done so many interviews in your career. what do you think the key is to--to-o--to kind o of un-prying the person and--and really openining them up to--to getting them to--to reveal who they are, because you do a

fantastic job at it. what--what's the key to that, do you think? yue-sai: ask outrageous questions. ha ha ha! questions that he would never expect you to be asking. i remember one time, i--i--i interviewed the--the prime minister of thailand, and i said--i said--people would never expect me to ask such a stutupid question--i said--i said--i said, "mr. prime minister, you are still single. doesn't--doesn't your mother get very n nervous about you being single?" and he just started--he just cracked u up, you know. it was--it was so funny for a ququestion t that--d it started him talkingng about, you know, , the fact that he really is very h happy being single, blahah, blah, blah. so--soso i think that, youou kn, you have to know them well enough, , you know, , to be ablo ask such questions. i think the more personal--don't you think the more personal it is, the better it is that, you know, you find--you know, you find out more about that person? mike: yeah, some people don't want to open up, but you've done a great job of it. thanks so much for coming on the

broadcast, really enjoyed it. thank you. w we'll be right back with this week's "full frame" close-up. stay put. he's known to break every rule of typography and design. edward fella is an exceptional graphic designgner, artist, and educator. two typefaces he created, outwest and fella, have had a huge influence on contemporary typography. his work can be described as original, idiosyncratic, and authentic. during his commercial art days, fella rarely used the computer. he preferred handmade compositions. other designers followed what't's known as the swiss ststyle of graphphic desi. it w was developed in the 19505, and it emphasized cleanliness and readability. fella went in another direction, creating

something more eccentric and quirky. now retired, he still influences the art world and encourages artists to keep their work authentic despite what others are doing. ed: when i worked in the profession, i--i-i was pretty conventional. you had to work wiwith the c conventionsns. it o be appropriate for the audience. i always said design was,s, you know, permission givn and allowance taken, so, you

know, from the permission that the culture gave you or the demographics gave you or the necessity gave you, you could take a little bit of allowance and, you know, tweak it a bit or twist it a bit. so that's one of the problems with graphic design. so it has these different audiences. if you are doing a manual for a brain surgeon, you want it to be very readable. in fact, you--as a graphic designer, you try to make it even more readable, right? but then if it's something more radical or experimental or provocative, then you can do these kinds of things. you knowow, detroit was its--at t its height bacack in e sixties and seventies, a and, yu know, it was a major city and a major place for advertising design.

so i was a commercial artist or graphic designer in the profession for 30 years, and those were all good years when there was lots of work. the second part of my life was when i--after 30 years, i--my kids were grgrown up, so i decided, well, it's time to reretire from that. uh, and then i went to graduate school and then graduated at the age of 49, and then i got a teaching job here at cal arts. then i taught here in the graduate program for 25 years, and then i retired. and during that career of teaching, i didn't do any more professional work. i just did my personal kind of explorations and my, you know, experimenting.

and,d, also, i dididn't do c cor work or didigital rk b because that was just t at the pointnt e i retired whwhen the digitital a began, so i nevever did anythihg didigital, otherer than concepeptually. i alalways say'm a graphic designer and artist from thehe last century, the middle of the last century. this body of work, these flyers that i did probably for 30 years, allowed me to play out all these type of graphic ideas, so i would--if i did a lecture, i would briring a--a stack of the flyers that i did, that were kind of a souvenir piece. it was the same--it was an announcement for the lecture that i just gave. like, even this was an announcement for an exhibition that i had. the gallery was called red cat, so instead of--it never says "red cat" on there. there's just

this red cat. and--but then, these became kind of my body of work, but then they became--but then, in a sense, they became art, right? because they--they never did function as communication. art is always after the fact. art starts when it's shown, right? it doesn't exist literally ununtil you show it. then there it is, and then it--then it's there forever, riright? it just has a beginnin. it has no end, whereas graphic design has an end. the end is always the event, the communication, the--you know, whatever, the--the magazine, the newspaper. so these flyers kind of contradicted that. they didn't have to be persuasive, for example. they could just be about typography itself.

in 1976, somebody gave me a sketchbook, and said, "why don't you put all those kind of stuff in a book?" also, it would be this size. that's when i started the little sketchbooks, the pocket sketchbooks. so this is--you can see how--how many there are. each page is a finished page. so it's a kind of experimental typography, using... and they're--they're carefully done, and some of them have to do with typography, and some have to do with collage, and some are just pure drawing. well, this is an example of-- totally, there are now about a 139 of these books, and each book has about 100 pages in it or 80 to 100 pages.

it's not like i spent all my time drawing. it looks like it when the years go by. so, yeah, younger people sometimes say, "oh, my god, you must do nothing but draw all day lonon" but, no, it's not true. i always t tell them, "yeah. you--the factor is time, time." ha ha ha! my reputation is something that just came because i made some work, and i always say, you know, to students, i've always said, "you just have to make an undeniable body of work." and then people somehow respond to it. i don't want them to be ed fella. i want to them whoever they are. what i--what i am to people is a model, a model for practice, not a model for the

work, riright? it's a model on how toto make your work, how to think about design, and--and all that, but not a style or a--or an answer. you have to, or you want to, and people do want to have their own, right? nobody wants to copy somebody, realally. the visionary business then just becomes, you know, a moment in time. it comes, and it goes, and i don't know if they're deliberately visionaries, but just because they have a certain idea of what they want to do, and they bebecome that, and i always quoted for years to my students, barnett newman said, "i paint so i have something to look at," and i think that's the best. he--you know, you just do it so you have something to do, and then, hopefully, it will also satisfsy you or a larger culture, and if not, then itit doesn't, and if t

does, then, hey, lucky you. ha ha ha! but you're still making it because you believe somehow in wanting to do that. mike: that's it for this week. join the conversation with us on social media. we are cctv america on twitter, facebook, and youtube, and now you can watch "full framam on our new mobile app, available worldwide on any smartphone for free. get the latest news headlines and connect to us on facebook, twitter, youtube, and weibo. search "cctv america" on your app store to download today. all of our interviews can still be found online at cctv-america.com, and let us know what you'd like us to take "full frame" next. simply email us at fullframe@cctv-america.com. until then, i'm mike walter in new york city.y. we'll see you next time. bq

>> was it a conscious d decisio, or a momentary lapse of reason? be considered a way of life? could it be we are connected to all things in the universe, not the center of it? that suburbsbs in los angeles affect the melting icecaps of antarctica? deforestation in the congo affects the typhoons of japan? now we must face the insurmountable challenges for what they really are: opportunities to reinvent and redesign. "e2," the economies of being environmnmentally conscious.