>> rose: welcome to the broadcast. night we take a look at photographer brigitte combe and sam atman, the 4-year-ol founder and c.e. of loopt. >> for me, i long that i need to be on my o and i nd to be one on one. i cannot functn very wel if there are other peopl around. and all these people are absolutely necessa to me, also. i mean, they are crucial. snek bey assistants, ey are like working like the hair an makeup people, my t stylists. all of them have a ry important part to pl, but they play tir part and the it'sy moment to be one on one. and to me it's cruci to be o

on one >> i think that location is ing to be a huge part of the future of mole advertising if you thi about all of the different thingshat advertisers usto target users, the biggest missing one has be location. andn some instances thas most important one because what we find that ers are vy much more likely t act on an ad for something ar them because it's relevt, it's right now, it's actionable. >> rose: brigitte lacombe and sam altman next.

captiong sponsored by rose communications from our studios in new york city, this is arlie rose. snooup brilgt lacoe is here. she isne of the most respected phographers working today. early her life she left school to work at "elle" magazine's photogphy laboratory in par. a chce meeting with dustin offman at the cnes film festival i 1975 led to his behind the scene work on hi lm "all theresident's men." many films llowed iluding "close encounters of the third kindand "the english patnt." in her 30-year ceer, she has photographed everye from henry kiss sdwror natalie partma to the dalai lama. this divsity in subject is to capture the essence of her suect. re's a look and listen to four of her friends who' also bn

thsubject over the years. >> this is very unusual photograph for me to take cause i am looking in the camera. i really do hate having still picte taken but i love digit and that is a... this cture is a reflection o ourriendship. in aust of 2001 we did a production of "th seagu in central park." it w a deliriously happy summer, clearly reflected in this picture. was theast innocent summer because the aonth later was september of 21. so for me it ctures an innocent this is sopd s wonde to feel see william sty ron, m old friendhis protective arm ov me. she's rely interested in the

interior of e person. she's photographing. >> i've known brigitte for arly 30 years. so much of her stuffshe captured a moment bu that somehow is a distillion o an essence of eitr aharacter at an actor is playg or of the pern. this was in the b after the hourin the theat. cyrano in a cab and brigitte as usual snappi aw. so for me it's a very personal picture which evokes a period in my life when iidn't want to tertain people backstage. when i will be through the book, i just see that clichof having captured something essential, which is whatmakes it arts opposed to jus another snapshot of sebody. it's very teresting the way she uses the camera an instrument for life and fo

ving a relionship with people and an instrumenthrough which yosee the world. when she took picture of me in the swooplinpool with jewels, itas a joke. i would haveever thought about this pture as being pubshed, but when we did it, it was just a moment of fun for . moment when you get more involved d you realize that at th moment you are doing a really serious picture. and so she has an incredible ability to kw when it's the right moment. and that's why i think so many difficult peopleet her take pictures of themsees. >> when you're in the room with brigitte, you always finder in a place that you least expe her. she doesn'tgo to the obvious place. shdoesn't go to theccess of the way t aience would be. e's always on a weird little angle. but you ha to look for her because she' invisibl she' just...ike all the best photographers, themake it very ea and they capture what they want very quickly. >> she's kind of a director

herself, okay whicyou willly, how sheanages to get people to peorm for the camera. it's amazing. m assuming that's her halfway rough the makeup process, the aging ocess she went through and there's something sort of heavy lidded abou her eyes and just thear-away stare that i remember from when i watched her in the movie. but en i look at is otograph, all i sos someone who's ve good atposing for photogphs and someone who isn't. (laughs) somebody loong like "ishis okay is this hoyou want me?" i feel a little bit of a get here but i nokate knows what she's doing so i'm just gointo stand here. >> rose: her new book, "lacombe animpersona" gathers 192 images spanning her career. she says these colles moments are my life, i'm pleased to have brigitte lacbe at this table for the rst time. so gre to see you. now t me just talk a ltle t about this. is is going to be easy. 're just going to look at your work. a an of your lifetime. rst of all, the boo is

dedited simply to your friend >> yes. >> rose: why tt dedication? beuse these people are your friend >> no, no,o. not all. (laughs) not all of tm. but a few ofhem. a few ofhem. and that's a... i havetwo things, i have my worknd my friends, reall and sometimesthey actually re the same thing. >> rose: this introduction is itten by frank rich who says "there is art and there is show biz and a young century overdosing on celebrity exploitation masquering as photojournalism. it's essential to keep the bounries distinct. that's the key to appreciating otographer brigitte lacombe whose work takes her io the realm of show busine but whose ctures strip the commerce away from the artist until w are face tface with some of the semil figures of our time and what theare trying to sayto their audience." so youell me, wh is it you think you're doing a how is it you think you do i? >> well, i'm reall just

following... and i ink the beginning, it's just all... i'm very instinctive and i'm ve ambitiouat the same time to do what i want t do,to meethe people i want meet and i never feel shy about asking people to do eir part rit and to pursue them if necessary. you know, and i'm not actly su what i'm doing. i thk'm 100% focused onthe person i am wh. and i keep it in one on one. the onon one situation. there's a lot... mean, there's a lot of wk going on before meeting the pern with me and with my assistants. but aually when is the moment of the meeting in the photograph and it's just sms efrtless and it's... just one

on one. a little bit of with them is what you d >> rose: but are you goi in looking for something? or does something exhit itself to you a then you know that's it? >> it's little but ofoth, really. i'm alys... it see like i always looking for the same thing because i createhe same situion every time which i'.. a lot of peopl think it'sctually boring, you know, because it's very peared dn, very... no productn values. >> rose: you have no stylist hoefring over you to set the scene. >> if ther is because i'm on an assignment to something, there's alys the moment that i willake that away. that it is the stylis the accessories, makeup and the hair, i will try to take it all away in order stay just with e simplest eence, the pust rt of the person, the mplist part. i dot know how t.. is it

good enough? >> rose: ye >> (laughs) >> rose: (laughs) >> and then react only... once i'm at that sta i react only with the emotion and the instinct. i don't know what i'm looking for. i'm looki for a momentthat rings true to me. >> re: n, thinking of the photographs we've se already-- and wee going to see lotsf phographs-- whenou took them did you know you had them? or do you have to really look ansometimes it's not there and sometimes it is there. >> yes. wh it's there, you usuly ow it. you know that the moment is there and.... >>ose: you know whatour camera can do. >> yes. and ao you recognize something. mean, it's really jus like... it's very instincve because there is not a right momentr a wrong mont. ijust recognize a moment i love. and that's that, really. >> rose: this there's is about yoan frank rich writes about you. he says "i'm suck by three

distinct biographil influences in other art. the first, of courseis her youth in france." tell me howhat influenced your art. yo father? >> yes my father was extremely importanbecause he wanted to be a photoapher,as not permitted by the circumstance. i mean he was... it was right afte the war in france and in france iwas not secure job. so he didn'tecome a photographer. but always tk photogras and i'm sure it was a huge influence on me. and then ias a very b student and was firedvery year from every schoo,eally like five yea in a row. so finally.... >> rose: you gave u i gave up. >> rose: and you wento work for "ell at 17. >> at 17. and father lucly knew the lab directo of "elle" magazine, which was really the best magane at the time andust put me in his has.

and ey gaye me a little lab co and i was, like, the only girl. ofourse i was 1 only men and they too me as thei little mascot and was there for a year. >> rose: then you went to kuan. >> then iwas dispahed...? newspaper in '75. >> the next mor moment for me was that i w asked.. i mean, i'm re i dodd go and thei was sent to kas filmestival. cannes film festival. and also i had mamily there. >> rose: tt just happenso be this book. (laus) a mindnd a paion and the a will at work. >> yes, absolutely, absolutely. >> ros so you endp in cannes. >> i end up i cannes wit only... the only idea was to take amany pictus as i could. but at the time, you ve to think, it was so different. i was jus there and i was approaching eryone and i...

and one of the persons i met was dust hoffman and dustinas there for "lenny." >> rose: the story of lenny uce. >> yes. and i was, i'm sure, the only womaphotographer there. because at the time ere was no woman photographer, eithe very few. and i was young and charming, you know. and so i think.... >>ose: you haven't lost it. >> dustin pulled me out more ss the photographers and when iid my portrait, after i d that, he said "why don't you come on myext movie? i'm gog to be doing allthe president's men. and at was... i went ck to the magazine and i told them and they sent me to washington. so thawas my fir movie in america which immediately put me.... >> rose: but you have stayed with that. you are connectedo films in a major way. >> yes. >> rose: i want us go behind

the scenes into the ad and the het and the passion of the photographer. >> yes. >> rose: you. >> well, i mean,for me i learned, for example, th i need to beny own and i need to be one on owhen i do a portit. i cannot fction very well if there are oer people around. and all these peoplere absolutely necessaryo me also. i mean, they are crucial. they can be m assistant, they are, like, working le the hair and meup people, the stylists, all of them have a very portant part to play. but they playheir part and then it's my ment to be oneon e. and to me it's crual to be one on one because it's... it's.. >> rose: a hallmark of what you do is iimacy. >> yes. >>ose: and that's the only way you can create that as we here. >> yes. exactl for me, th's the only way maybe there is anoer way t i have not found it yet is tobe st one on one. iee it like littlemarked

space whereou are, like, enclosed. i try work as much as i can with daylight and thas it. and it's intimidating to the person i photograph and it's intimidating to , too. i ner that i can actually do it. i mean, som people actually resist tt, as you know. they will give younly what they have decide to give you. >> rose: they want to be in control. yes. oh, absoluty. >> re: and eecially in actorsi think. >> yes. yes. so sometimes it's a b of a battle of theill, undeclared. >> rose: but that was what one ofhose phographs we showed suggested. when you get them t do things, ashen kate winslet arrives on the set wh you're otographing sammendes and she agrees to be in the phograph. >> yes. up? not expecting, not having epared, not having made up. she's with t kids. shows up, is i the photograph. yeah. because, i mean,he's.......

>> rose: a prada who ps a band on her hr in the pool. >> but in the ce of kate winslet, she's quite remarkable and fearless,ou know. >> rose: fearless? >> yes, she's pretty feless. and so t s prada. >> rose: clearly shes. now, you've traveled wit prada. >> yesi have. >> rose: and are. >> and are >> rose: (laughs) all right. here'some pictures, some photographs fromhe book. they're vided into two groups, first is pitics andart and the second is celebrity. okay take a look at this one so politicians are different than actors? >> inome cases, not alws. >> re: okay. (laughs) exactly. all right. first photograph is right here. this is henry kiinger, obously. >> yes. >> rose: so, that really... i mean, little say becae i was... in '73 i've been

dispatched that's, of coue, the peace talks in paris. an i'm obously likerom f away poi of view. i'm like. i have no access to him, he's jus a... it was just an important moment for me to have. >> re: and what doeshat say to you? >> i just says. i mean, t only thing that it says ishat it was an imptant mopt in the time i was in, u know? >> rose: okay. the next is our president, rack obama. >> tt i was extrely lucky. it was for the cover of new york magazine and it wa just before... it was just before actual announced thathe will be runng so it was in washington and i... i was incredibly lucky becse he ve me all the timethat i needed to do first portrait in a mock studio and then to spend the rest of the day with him. but thtime he was siing there, he was so engad, so

prent, so in the momt that i nd it remarkable becse it' ra that people are able to actually shut off all the other thin around them and jus be there for you, beresent. that's whai'mtbuon i d't alwt but i don't always t it. >> rose: the next is hillary clinton. >> yes. again, something for new york gazine, the cover. following her the la week of the campaign. >> rose: now, was her hair that y? >> no, no, no. that's the thing. i asked her. d she... it was... she. she... i just kw she was finishing up theampaign. rose: so she knew, in other words, she was going to lose. >> she knew. she had decid to giv up the campaign. i ask h willhe take off her jewelry, her jacket, her pearls, a lot of her makeup and pull her hair back. and she said yes. >> rose: just like tt?

>> just like that. and she stayed with me for an hour eremely engaged again at a ve difficult moment in her... but knowing all along, al. she was dng it out of something e had said she would bualso it was an important moment. and it was going toe the cover of new york magazine and it was an image tt will mn something, you kno it was notthe end of hillary clinton, obviously, ase know it. was st the e of that ee:thos op >> rose: end othe chapter. okay, e next is edward sayyid, columbia prossor. >> actually, in thisortrait i otographed it several times came to my studio to do a portrait for o of his books a i wantedto photograph him very much he's very charismatic very handsome,xtremely erudite, very funny. of all men that i met of great intellect, fascinated by the world cinema and.. >> rose: they all are.

>> they all are. and it's a very.. very enchanting tme that he was like, so wantingo know. >> ros what was he like? they always say "what s he like? e they smart?" >>hat were they wearing? >> rose: what re the yes. e yes. >> (laughs >> rose: next one is joan didian. the great joan didian. i have phographed her for long time and that was.... >> rose: after john's death: yes john asked me to do theortrait her for the book forthe... it was beforee... i mean, she even kneshe would make a play, it would be a ay. and there was just, again, at my studio and shejust... i mean, you know, the thing wit her is everybody alwa thinks she's so. she looks so fragile, she'so small, she's so thin. >> rose: delicate. >> and she was in such grief. but on t other hand, her tellect is, likeaking over.

shs still t same. she's stillery strong.e: ros ths >> rose: the next is the dalai lama. >> yes. well, that wasfor... that was at his place and i went fo conde naste travelero do a portrait of him. i was ve lucky because i went with a great man, pico. andico has known him since he waa little boy andwe had very speciaaccess. and so that's the dalai lama. >> rose: tl me what y think yove got. >> i think i got goodoment. i mean, he'sbviously someone that is very.. >> rose: he laughs all the time. >> yes, (laughs) he does. >> ros you tell a story and he lahs. >> yes, ectly. well, here it issondhaheme t.re. >> rose: nexts benazir bhutt and her husband, zardar, now the president ofakistan. >> and t son.

>> rose: who's nowthe head of thparty. she looks soyoung there. >>he looks so young. it's 0 yearsgo. >> rose: is this in pakistan? >> it's in pakistant her house. sohe birthdayarty of this little boy and she... ihad done a portrait earlier ding the day at her office and i asked her, like done thi more her housand she also sd yes. and we arrived in this full birthday party ofhe little boy and i had just a little moment to do this one image, but m gl i did. >> rose:nelson mande. >> yes. one of the most moving moments for me. >> rose: becaus of the magnificce of the man? >> yes. knowing all you know about him. knowing allis ory. and also seeg on his fe, i mean,it's onlyne image, but 's... he has this

extraordinary smile of great, greajoy and it's.. rose: and also a sense of contenent and peace even though he wenthrough enormous stggle. >> yes and then the second after when the smile isonet's like the most poignant face, ynoouw? k >> rose: the next is the late and great kirk varnedoe. >> oh, yes, rk. well very...ou know it's like when you see one of these extraordinaryhandsome person, ma in this case. that seemso be unaware...no unawarbut not using i re: t >> rose: t handsoness? the sedtion ohe presence? >> i mean, how can you be so handsome and becting like you are not? i mean...laughs) it's not veroften. rose: i wodn't know. (laughs) >> (laughs) but, again a remarkle

intellect. >>ose: and a brilliant spker. brillia speaker. brilant speaker >>ose: john updik john updike. i went to harvard. >> rose: so tell me about the photogph. how did you get him to do at? did you sayto him anythg? >> no. i don't... i usually n't say. i don't say anything, no. i always.... >> rose: like the chin? the hand on the chin, nothing? >> no, no, n . but i put him in the situation that i wt which is the most beautiful ght and that's it. >> rose: and the next is... (laughs) well, i'll let y speak about th image because you remember it. >> rose: i d ofourse i was scared. i walked out of there saying "i hope she burn it is film." it was long time a byseauec was crazy because i thought, you know, what am i doing here? >> rose: i rember very well because you were veryuch the cat's meo at the time. you were stilloing thehow at

night. rose: exactly. >> and everybody and especiall womenew very well. you were very awe ofour existence. but i lovethat portrt of you. >> actually, i do, too. the next one is mick jagger a jerry hall. i love this. jar will do anything, will he not >> well, as you can imagine, it was his idea. >> rose: it wasompletely his idea? >> of course. it always his idea. >>ose: and he sai "i' put on lipstick and wear a dres and jerry will put on pants?" >> we did a portrait for french "vogue" with jerry hall and mick agreed that he will be part of a picture at some point and we were at the shatoe in his chateaux and when it was the end of the day i suddenly realize "we have not had mick in the picture." so i said "are you gog to come

please we're at the end of e light." anhe looks at me and says "yeah, but what am i going t wear?" and i w his es look at the rack o clothes and suddenly.... >> rose: he sees thedress. (laughs) >> and within minutes hwas in that dress. bu of course; it's a normal porait. 's not over theop. >> rose: the next is anthony mihella who was a greatriend and this, i assume, was... that was "the english patient"? >> no, n that is at the wedding of his daughterannah. >> ros that his son? that's his son mark and his father and it's justne of the... i mean, it's an extraordinary moment becauset was jus mons before ant anthony died and it's just such a mont because anthonywas cotantly touching youe: rh, oos >> rose: oh, that's amazing. >> such tenderness. >>ose: the next is warren bety. >> warre a great lov of mine.

>> rose: a great love of yours? >> well, a great love in the sense that iove him, s. >> re: (laughs) >> he's just the most enchanting smart, funn, complicat. and have a long friendship with him,i've known him for a long time. i admire h. >> rose: and h neighbor jack nicholn. >> jack nicholson. jack nicholson i don' real know and he's oneof the hardest persons to photograpbecause you know so much about him. hepresents you thi person. but i tnk he looks.... >> re: next is the late sydney pollack with al pacino. >> yes. yes. that was for ""bobby dore >> fid." >> rose: about a formu one racer. >> and momts before the pe he's checking his character is all there. >> rose: next is don johns. frank richalks about this in his... >> i know, everybody's very.... >> rose: why?

>> think because we've come to kn themso much and i've...i mean, here they are fst of all looking like twins. rose: yes, indeed. >> at the height of their beauty and youth and intertwined and it's hollywoodt the time. >> rose: nt is new rk's great woody allen. >> yes, doing "maattan." >> rose:nd how did tt haen? heas that same look, that sense of curiosity a searing and lking out and asking questions in hisead. >> yeah. waiting foan answer, maybe. i went on the set because the grea ballerina from balanine had been askedo be an actress in thefilm. woody had asked r so i went alonto take pictures. >> rose: xt is, i said, your great friend martin scorse and his daughter. >> y. we, and, you know what c we say? i mean, one of the most

interesting men i know. >> ros why is that? because he's so passionate abo film? >> he's so passionate,es. rose: 's almost le an encyclopedia of film. >> he knows everything. >> rose: and loves communicating it. >> yesbut in away thate's enchanng. always funny, aays... everythi reminds him of a scenin a film, you me? of a moment with someone extraordinary. he's just extremely funny and eccentric. >> rose: the nextis hen mirren >> aga, i asked helen mirren. it was quite actualy.... rose: take off your clothes >> exactly. >>ose: and she saidwhatever u say." >> that's what she said. >> rose: why did you want t do that? >>ecause that's what i wa to do. i wa be.... be.... >> rose: you want to strip them down? >> yes, i try with eryone. >>ose: here is julie christie. there waa great story behind this. she was in ireland, was she not? whales.

>> whales. she had short curley hair. she was not working, really. >> rose: and she was doing somethg interesting there. >> she has a little kind of farm ani was so enanted and so i nt there and i took all these picturesith her during the day and all along i was thinking of jue christie, extraordinary face that you cod not see because of the sho of cury hair and i asked her could she... i had my sweater and i said... w did sft a scarf or anythi so i said "can you e that sweater and make itik leosa make your hair go away and she did. >> rose: this is dustin hoffma withhe ballet on broaay. >> well, the wife at the time, they were doingan eveni of ballet on broadway and dustin was on the sid, i was dng the poster with l these dancers and, of course, could not stay on theelid sine. he h to mp in and te off

his pants and be part o it. >> rose: he cod not. that exactly right. now we're goingto take aook at three clips that i didwith someone just to ve you talk about what he says as photographer. le tape. when you take the otograph, is there a moment for you that y know when to snap? >> when t subject takes me in. then i shoot. but st to concentrate, concentrate. in the silence. and you musn't want the most real receptive. don't ink, even. thbrain is a bit dangerous >> rose: is it tru for drawing as well? >> life in general. >> rose: in genera yes, very good. it's philosoy of life is to

let it u.. soak it up. let it ovehelm y. >> exactly. >> rose: rather wise. >> exactly. (laughs) i ha nothing to add. >> rose:e had itight. let it come to you. >> yeah, let it come to y and don't reallyhink of it. just let it come you. >> rose: here he is talking about why he like to fus on portraits and why they areso challenging. in terms of photographs, you are aefining artt, a founder. and it's just so much talk to you. it has no meaning to you. >> i'lltry to do better next time, that's all. >> rose: how do you get better than this? this work goes back to th '30s, the '40s, the '50s. i don't know of anyone who's taking better photographs

anywhere. nor does anyone else, than what i see on these wal. >> i take portraits now. for it's themost difficult, portras. >> rose: why? >> because you have pretend that you're t there. that you're not tang pictures en you shoot. i enjoyery much king portrait >> rose: you do? >> yes and now i'm taking portraits of yowithout a camera. that's the trouble. >> rose: (laughs) that y don't have a camera. you like portraits becse? every face is different? because it's very diffilt. i wrote somewhere a i'm soy to repea it but put the camera between the skin, it' very difficult. that's takina rtrait. th camera betweenour shirt and your skin.

that's looking at people and gusing, gssing, gusing. all the ti guessing. >> rose: tre is one more that i wa you to seeecause it is about the thinthat you love most. he's talking about what you hav devoteyour life to. it's yr obsession it's your passion, it is your life, a it is your work. all of that and it is t bond you hav in part. good painter do you photograph him, say, beuse he's a friend? becae he's an artist? because.... i can't remember only one thick. >> rose: what do you remember?

>>e asked me "why did you shoot me then?" an i said "why did you put the touch of the yellowamid the glow of this painting?" he coun't answer. >> rose: you made your point. >> beyond e talking to people. >> rose: is that te. you had no swer why you shot him then in the same waythat he doesn't know why h put yellow. >> it doesn'come with words. >> yeah, it's ry... what can you d, you know? he's right. it's very hard. it's very instinctive what yo do. >> rose: if is program has purpose, iis that we hav over the years captured peoplelike hiin a way that most people ver sawhim. a nse of who this remarkable man was. that was when w in his 90s.

the claude bernard gallery. and was about 15. (laughs) >> rose: (laughs) sohat's next for you? how do you see the next ten years? >> you know, i just always see myself day to day dng what i love everyday. that's the only thing i can just like focus on, really. hard to tell whas going to happen because o the credible digital and the fact that everybody haa mera. i mean, as you know.... >> rose: ery cell phone has a camera. >> ery cell phone has a camera. what's happening now, we get all the informatio w digital. >> ros technology. >> and the magazine now may be soon obsolet. so don't know. and ybe at some point i will also b tired of traving the

world and i wi... it will be more of timeo be on my own th constantly engagin and... but i don't know. for now i'm just thinng day to day andi'm going to work tomorrow. >> rose: going to wk tomorrow. >> yes. >> rose: thank you for doing this. >> thank you very mh. >> rose: it's great to have you he. >> thank you. >> rose: and it's a remarkable book and a remarkableense of capturing in photographs history. >> tnk you. rose: people whoake histor ether it's in the arts or whether it's in politics or whher it's oh aspects o culture. this book is cald loc. "lacombe anima/persona." >> rose: samaltman is here he

is the found of loopt a mobile networkin applicatio which allows urs to locate friends on their network. he came up with the ia while a sophomore at stanford. today lot has overone million ers, major u. carers including spri, at&t and rizon all offer the service. loopt is another example of how people now use their cell phone for re than just to talk. i am pleased to have samltman this table for t first time. welcome. >>hank you, charlie. >> rose: what isoopt about an y is itimportant? >> loopt is abt peoplesing their cellhones to conct to the world around them the importance o cell phone technology in our ves has really taken off in a way i thk few of usver predicted. the average u.s. teenager sends almost 2,000 text messages per month. the dependence on this device and how engrained this s become in our ves is incredible. e of the unique things about these deces that hasn't exted in the web wod is that they kw where they are. they have this location technology and if u want you can share your lotion with other people. you can nd great restaurants around you or yo

can me someone new in the same bar as you. all these new modes of behavior th haven't existed before are now ssible with these location servicesnd our goal is to deliver the best ones of tho we can. >> rose: how doe it work? so you are with youriphoner th your... >> with pretty much any phone. >> rose: you aren manhattan an tis square. >> and you pl out yourphone and you'll be ab to see which of your friends have chosen to share thr location with y is nearby. so for example wn i was on the way overere this afternoon i noticed that friend of mine that i hadn't seenn months was within one quarr mile. i got erted by that on lot and'm going to e him for dier later. >> rose: because you knew he w inhe neighborhood. and i never wouldave otherwise. so it's those kinds of experices, these real wld physical connectionshat you're able to see. you can look down at your phone and say here' where my friends e, here's a good new restaura i should try and deci what to do. >>ose: but thenly people th will can..you have to be inetwork. you haveo consent to do it. >> it's all opt in.

d if i choose to share my location with you and later the side i don't want that, i can stop that. >> re: so if you want to han out inew york withou anybody knowing where you ar you can tush i off. >> which ioften do. >> rose: so how do u think it has use otr than sheer enjoent for people who want to knowhere their friends are. >> i think the... technology is great, but one of th downsides to technogy, it ten isolates us behind our representate computers d i think we've lost this real-world ieraction that we used to have. d one of the fascinating promes of location technoly is this ability for us to hav real world connections and so i can see pple i wouldn't normally get to. or if i'm a parent i can e thor peace of mind because i know wre my kids are with their consent. or i i need a restaurant, i could find one. so the... younow, we ar amazed eveday we hear aut new ways people are using this and things that we never thought of to connectwith the peop th theyare about >> rose: a what's the demographic of the people who use it? >> the averagege of ou users

is mid to late 20s and ey tend to be in big cities. althou they that's changing very quickly. >> rose: and primari these are people in a cerin neighborhood and therefore they tell you what restaurant they' in, what bar, what recreatiol facili. >> exactly. but it's useful sometimes just to know i'mn new york. >>ose: how will advertisers use this? >> so... it's a great questio i think that location is ing to be a huge part ofthe future of mobil advertising. if you think abt all of th fferent things that adveisers use to target users, thebiggest missin one has bee location. and in some nses, that's the most important on because wh we find is that users are very much more likely to act on an od for something ar them because it's relevan, it right now, it's actionable. so we ve huge interests from adveisers all the time that want to deliver location targeted ads. and the other thing we find as long as it presented rrectly to users, users are okay with this. we were rried ere's be a big

lash tards location target adveising. and it's something that as lon as the user understands howt works and understandsow they have control over thei privacy, it's something uss generally embrace. >> rose someone said to me the other dayi like my iphone primarily because givese an accesso so many applications that can't get awhere else." >> yeah. >> rose: is that a phenomen that will shrink and sink and shrink as other smarphones stepp to bat and hav applicatns that will be used on their architecture? >> everyone s been staying that that will happen for a couple years now. everyo said "theiphone is great, butveryone sells going to come t with a great smart phone d take away th market share." and that hasn'tappened yet. fit of all, apple just made e best mobile devic the world s ever seen. >> rose: w do you say that? i meanis it better than the lm prenow? >> i think it's better than bo prix. >> i think the ease of use

combin with what's available in a few clicks. one of the most important thing we see is how easy it is to use. and the fact that i can pull out my iphone anddo anything i want wi just a couple of touches and i don't have to roll up the menu and just hand it to you and you can figureut how to do it. most people can't with a palm pre. th's simplicity d the buty of the device. >> rose: ease of access has en a principle determinate of success for technology companies. i think. >> absolutely. i think apple has always understood that well but think they have outdone tmselves he. theeason that i think that that share may not shift is there's 6500 applications avaable for the iphone. >> rose: 65,0. >> 65,0 applications. >> rose: and they take these nderful full-pa ads out in the newspaper. >> we weucky enough toe e recipient of one of those. >> rose: and you look at at and say "i would like t have these, please." >> yes the urs want too where the

applications a and the plication developers want t gohere the users are. so even if anher phone manufaurer came out tomorrow with a device as good as t iphone, there's an ecosystem built up aund it and this che and availability of alps that i think will be challenging for someone to... ap that will be difficult in thshort term. >> rose: what applicationdo you use? >> i use loopt the most by far. but i think i have a hundr applicions on my phone. i use e-ml the secd most. there are a couple of games, one called fght control which i have sunk hoursnd hours. >> rose: what islight control? >> it's a little game that sounds s stupid. you so of control airports with yr finger andake them land on runways and cant st playing it. >> rose: (laughs) it's a measure o what? sort of refxes and speed. ho quickly you cancoordinate planesn to runways. but it's so much fun. i use the new york subway app all the time. i use the yelp app. the listoes on and on. >> rose: what's yelp? >> yellsubpoena a local review.

it's a partner of ours. ey have a ton ofnformation about any staurant you could ever ask for, good ones; bad ones. i use that a lo >>ose: there a wholeunch of those that do that, a whole bunch of applications do that and ye has been one of them. what's the nt big idea? is it simply the tension of the mobile phone or t smart phone? >> ihink theext big idea is that theobile phones going to be as revolutiary or more than the computer. and i thinke've just seen.... >> rose: me revolutionary as the p.c. >> i wld go on record as sayi that, no problem. there are mo of them in the worl than p.c. its a 4/7 session. mostf my friends sleep with their ones at hand' reach and if ty turn them off they fe physically uncomfortle. >> re: are you serus? >> totally serious. >> rose: in tms of smart ones, where are theyoing? at will we see?

>> this is much harr to predict. i think at we will... the oy thing m sure ois voice is going to become les and less applications. >> rose: voice will beless portant? >> i thi so. i think you're already starting to see that. rtainly voice revenues e falling quickly. but i thinkthe amount of that i use.... >> rose: voice meaninghone calls? >> phone cal, right, sorry. the amount that i use my phon fovoice relative tother things, i'd ther send a text than make a call and i'd rath send... well, i' ratr send an e-mail than make a call, too, but i'd rather text. rose: would you rather text than e-mail? >> yeah, interestingly enoh, more and more. i find myself teing rather than e-mailing. >> rose: a what about twiter? >> i do e twitter. >> rose: w do you u that? >> i use twitter f two reasons. one i do tweet to leteople kn what i'm doing,but the realtime seah on twitter is somethinthat i never would have predicted being as powerful as it is. but the fa i can tape in anything, i can type in the charlirose show and seehat the world is saying about it right now so interesng to me and so useful for a certain

class of searches. >> rose: wt would happen? explain the process for people who don'tweet or know what twiter is all about. >> so if youo to search.twitter.c and type in anything, you wi see what people are sayingbout hit in the last ten seconds worldwide. andit's just this fascinating peek into the world psyche we've never had before. so iust know,ike, if there was some big event happened i would go there for ne because it will be the... people will be talking abou it and what it means and what has happened so much more qukly than the tritional media. >>ose: you went to stanford. whatid you think you would study? what did youhink you would be? >> i wanteto go to snford from as young as canemember. my parents gote a compur, a mac l.c. 2 when i was eight years old and so fell in love and i cantill... i stillave the actual computer. but someone that set it up for meold me that stanford was wheryou go if you want to len about computerand i decided right then i nt to go to stanford t study computers.

>> rose: did you wt to learn aboutomputers because you wanted to eate businessesor because of the ser thing itself? >> yeah. the technology is so fascinatin to me. that was the reason. the startup kind of happene as someone what ofn accident. i realized it was a possibility going to stanfd but i fell so in love withhe technology and the colin poweller of tse ds and how much they've cnged the worlsince the tenears that i've bee paying attenti is unbeliable. >> rose: n you know there's a lot ofontroversy about what loopt can do. >> yes. rose: criticisms from range of ople. >> with every new technology there are i thi uniqu allenges and certainly wit location awareness services the chalnges around ivacy... we build a tool a we do erything we can to stop that being from beingisused t i can't sit he and say there's no way it can be used forve evil. weuild on all the technogy we can to prevent that from happening. but i think as the public becomes re aware of the serves the cnces forisuse

cases bome lower a i think we doverything we can to educate users. >> rose: how have you changed your orinal concept o this in order to impede? >> let me give y onexample at i think is a non-oious thing thate changed aft our first version. we met witthe national network to end domeic violence. wondful organization to get edback about our product. and e of the things ty pointed out was it's not enoug to allow users to tn the service off. cause someone in an abusive retionship could be told "you'rnot aalwed to turn the seice off." so we have a new feature there that lets you set a location different from wre you are. so you can appea likeou're wherever you'd like to the rest of the world to all of your ntacts on loopt. so we've had to come u with features and technogy like that to addres some of these misuse cases >> ros what else might you

have to do? >> another oblem was the fact that people could have loopt put on their phone without being to about it and they never had a chance to pt inr out because opt is on their phon >>ose: who would do that? >> crazy boyfriend or gifriend an so we've developed technology to watch r that case. there's aery specific usage pattern. we alssend a reminder. sometimes we even send physical mail to let you knowyou're using our service or one like ours. again, we want to make sure our users want to be unghis with the peoplehey're usi it with and ow what's happeni. >> ros lots ofeople are struggling with the number of qutions having to do with content in newspers and whether content, which is all fr, will be freeshould be free a the implicatio of all that. thers also the question of monetization. how does lotonoties its product?

how does facebook monoties i pruct? how does twter mon ties its product? >> so we havewo pry mafr revenue stream one a very traditional model that's easyto understand where either oursers pay us or the carriers pay us to oer our product. that's a uque advantage over mobile. it's thus fareen easier to get money on mobile than o the web. second, location-based ads are worth a lot to certain type of advertiser and wthink that will continue to delop into a veryice business for us i'm not sure if the worl c trend towards everything being free. there'a lot of debate about this. myuess is that t worldwill trend to a... there wille free versions of things there will be premium seices and thereill advertising. >> rose: have you rd chris anderson's book? >> of cour. >> rose: (laug) at did you think? >>hat did i think? i thinkhat... that book caused more of stir, i think, in silicon valley than lots of other thgs that i remember. i think itaused a ir because

people were saying wow, maybe whole world is gog to go free, or maybe everything that maers is going to go free. anit has not yet been prove with a coue of notable examplesike google thatmost tenology businesses or media sinesses can make money tha in n that scenario. >> rose: or "wired magazine" can make money that way. >> or "wired" magazine. so there are a lot of people that areptimistic but there was a time when that was being tossed a lot about and it caused... you know, people tha really respt to say if your business mod is free and ad suorted, don't talk ta to me because 're never going to figure this out. >> rose: thatight? venture capitalists who might want to invest inyou said "if yourusiness model is dendent on advertising and offering your service free..." >> rig. >> re: as commercial television does. >> yup. and i think there are lot of other ings going on at the same time. there was a glob economic meltdownnd i thk it was a little bitf an ove a...

non-adveising supported mode in sill vonalley. >> rose:hat's the risk of someone like google and litude or microsoft or whatevethey might create or wever origines software says sam had a great idea, we ear going to copy it, we have more money, more resources, we can hire more eng fearand watch out, sam. >> it appears to us that that's whatappened with latitude. we developed a very nice pduct an google talked tos for a while d then came out with this. >> rose: how did they talk to u? >> we we right down the street from them so we went in t talk to them about... we use their maps, ithink we used their search. so they knew about us, the knew what we were doing, they came out with latitud i'm happy to say that there was a lot of talkabout latitude is going to kill loopt and it hasn't come closeo happening yet. i think we have he respect for google b we can outinnovate ybody in the world. and we're very focused on this. we're nimble, we're quick an wel keep delivering a better

product. >>ose: so where do you want to take loo? >> w really want be th where the wod comes from location awar servic. when you think about i want to find friend or i want to find a restaurant or i want to add location to this other service, we think wenderstand that real well. we he... we're veryfortunate to he deals in place with all the jor carriers. we have the bgest network of any other of our competitors by far d we want tobe that a... deliver a rvice. >> re: did you have to resist the... the first carrier you went to, did theyay "fine, we'll make aeal with you, sam, but it's exclusive." >>hey said exactly tha >> re: and you said... >> we were able to sw them the lessons fr text messageing this which has been imrtant to carriers. te message until 01 you cod only tt from one carrier toomeone else in that carri. around that sa time, you cld text fm any carrierto any other carrier. and e growth went from sothing like this to something like this. d we were able to tel the same story.

that it benefitsou more to have location aring with everybody. because this is rely a communication seice and people want to communicat with the people they care aut no matter wh network there on. so we wereble to tell that ory. >> rose: up e operative idea seems me that you... youknow more about this than do. the operative ide seems to be ubiquity. get itut there in mo ways than you can possibly imagine. >>nd make it available to everybody. >> rose: ubiquity is your friend exclusivity is not. >> and many people havlearned that lesn industryide, which great. >> rose: you're makin money. >> we are making... we are not profitle but.... >> rose: you hava cas flow. >> yeah. >> rose: great to meet you. thank you foroming. >> you as well. than very much. >>ose: pleasure. captioning sponsored by rose communicatis captioned by media acss group at wgbh access.wgbh.org