>> rose: welcome to the broadcast. tonight we take a look at photographer brigie lacombe and sa atman, the 4-yeaold founder and.e.o.f loopt. >> for me, i long that i need to be on my own and i need to be one on one. i cannot functio very well if ere are other people around. and allthese people are absolutely necessary to me, also. i mean, they are crucial. snek be m assistants, th are like workg like the hair and makeup people, my t stylists. all of them have a ve important part to playbut they play the part and then it's m ment to be one on one. and to me it's crucialo be one

on one >> i tnk th locationis going to be a huge rt of the future omobile adverting. if youhink about allof the different thgs that advertiseruse to target users, the biggest missing one hasbeen location. and in some instanceshat's most important o because what we fd is that users are very much more likely to act on an ad for somethg near em because it's revant, it's right n, it's actionable. >> rose: brigie lacombe and sa altman next. captioni sponsored by

rose communications om our studios in new york city, this is chlie rose. snooup brilgt lacombis here. she is o of the most respected photraphers working today. early her life she leftchool work at "elle" magazine's photogray laboratory in paris a chan meeting with dustin offman at the cans film festival in 1975 led to his behind the scenes work on his fi "all the psident's men." ny films foowed incding "close encounters of the third kind" d "the english patie." in her 30-year carr, she has photographed everyonfrom henry kiss sdwror natalie partman to the dalai lama. this diverty in subject is to capture the essence ofer subjt. he's a look and listen to four of her friendswh veo'ols a who'e

the bject over the years. >> this is a very unusual photograph for me toake beuse i am looking in the camera. i really do hate having a still picturtaken 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 mpst 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'm bu i don'tlw 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 e>>e:thosp >> rose:nd 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. 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. >> 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 is sohamendhere t. >> 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, you know? >> 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...not unawarbut not using i at all. >> 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. . 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." was crazy because i thought, yu 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.y 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 you and.... >> 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. >> rosidsa, 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? >>teess. ssionate,es.io 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 want everyone to 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 it like a 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 the sideline. 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... 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 th for 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 manufaur 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'she nt big ia? is it simply the extension of the mobile phone or the smart phone? i think the next big id is that the mobile phone is going to be as revotionary or more than the computer. and i thk we've just see.... >> ros more revolutionary as the p.c. >> would go on record as ying that, no problem. there armore of theminhe rld than p.c. its a 4/7 session. most omy friends sleepwith their phes at hand's reach and if theturn them off they feel physically uncomfortab. >> ros are you serio? >> totally serious. >> rose: in ter of smart phes, where are they gng? wh will we see?

>> this is much hardeto edict. i think th we will... the onl thing i' sure of voice is going to become less and less applications. >> rose: voice will be ss imrtant? >> i thinko. i think you'realready starting to see that. ceainly voice revenues ar falling quickly. but i think e amount of that i use.... >> rose: voice meang phone cas? >> phonealls, rit, soy. the amount that i use my one for voice relative to other things, i'd rather send a text than make a ll and i'd ther send... well,i'dather send an e-mail than make a cal, too, but i'd rather tt. >> rose: would you rather text than e-mail? >> yeah, interestingly enoug re and more. i find myself textg rather than e-maili. >> rose: and what about twiter? >> i do use twitter. >> ros why do you use that? >> ise twitter for two reasons. one i do tweet to let people know what i doing but the realtimeearch on twitter is someing that i never would have predict being as powerful as it is but thfact i can tape in anything, can typ in the chlie rose show and s what the world is sayin about it right w is so interesti to me and so useful for a certain class of searches.

>> rose: whawould happen? explain the process for people who don't tet or know what twiter is all about. >> so if you g to search.twitter.comnd type in anything, you willee what people are saying aut hit in the lasten seconds worldwide. and 's just this fascinating peek into the world psyche we've never had before. so i jt know, le, if there was some big event happened i would go there for news because it will be there. people will be talking about it and what it means and what has happened so much more quicy than the tradional media. >> re: you went to stanford. what d you think you would udy? at did you tnk you would be? >> i wanted go to staord from as young as i can rember. my parents got m a compute a mac l.c. 2when i was eight years old and i so fell in love and i can sll... i still he the actualomputer. but someone that set it up for me td me that stanford was where u go if you want to learabout computers d i decidedight then i wa to go to stanford to study computers.

>> rose: did you wan to learn about cputers because you wanted to crte businesses cause of the she thing itself? >> yeah. the technology is so fascinating to me. that was theeason. the startup kind of happened as someone what of a accident. iealized it was a possibility going to stanfor but i fell so in love with t technologynd e colin poweller of the dwi and how much they've chaed the world nce the ten yrs that i've beenaying attentions unbelievle. >> rose: now you know there's a lot of ctroversy about what loopt can do. >> yes. >>ose: criticisms from a range pele. with every new technology there are i think unique chlenges and certainly with location awareness services the challees around pracy... we build a tool and we do evything we can to stop that being from being mused bu i can't sit here and say there's no way it can be used for e evil. we bld on all the technoly we can to prevent that from happening. but i think as the public becomes mo aware of thes servics the chaes for muse

cases bece lower and i think we do erything we can to educate users. rose: how have you chaed yourriginal concept of this in order to impede? >> let me give you one example that i think is a n-obvious thing at we changedfter our first version. we metith the national network to end mestic violence. nderful organization to get feedback about our product d one of the things they pointed out was it's not eugh to allow users to turn the service f. because someone inan abusive relationship could be ld "y're notallowed to turnhe service off." so we have a n feature tre that lets you set a location different from where you are. so you can aear like you're wherever you'd likeo the rest of the wor, to l of your contacts on loopt. so we'vead to co up with features and technoly like that to address some ofhese misuse cases. >> rose:hat else might you

have to do? another prlem was the fact that people could have loopt put on their phone without being toldbout it and they never had a chance to o in o out because lot is on their phe. >> re: who would do that? >> crazy boyfriend or girliend and so we've developed technology to watch fo that case. there's a vy specific usage pattern. we also nd a reminder. sometimes weven send physical mail to let you know u're using our service or one like ours. again, we want to make sure our users want to be using ts with the people ty're using it with and kn what's happening >> rose: lots of pple are struggling with the numberof questions having to do with content in nspapers and whether content, which is all free, will be free, should be fr and the implicions of all of that. there'also the question of monetization. how does loop moties its product? how does facebook monoties its

prodt? how does twitr mono ties its product? >> so we have t pry mafr revenue streams. one is very traditionalodel that's easy understand where either our urs pay us or the carriers pay us to off our product. that's a unie advantage over mobile. it's thus far bn easier to get ney on mobile than on the web. second,ocation-based ads are worth a lot to a certain type of advertiser and we ink that will continue to devop into a very ne business for us. i'm not sureif the world can trend towards everything being free. there's lot of debate about this. my gss is that the world ll trend to a...there will b free versions of things there will be premium serves and there wl beadvertising. >> rose: have you rea chris anderson's book? >> of course >> rose: (laughs wh did you think? >> wt did ihink? i think tt... thatbook caused more of a stir, i think, in silicon valley than lots of othethings that remember. i thinit caused a stir because people were sang, wow, maybe

the whole world isgoing to go free, or maybe everything tha matters is going to go free. and it has not y been pven with aouple of notable exames like google that most technology businesses or media businesses can ma moneyhat in n that scenario. >> rose: or "wired magazin can make money that way. >> or "wired" magazine. so there are aot of people that a optimistic but ther was a time when tha was bei tossed a t about and it caused... yo know peoplehat i really spect to s if your businessodel is free and ad supported, don't taltalk to me becae we're never going t figure this out. >> rose: tt right? ventur capitalists who might want to invest in you said "if your biness model is depdent advertising andffering your service free..." >> right >> ros as commercial levision does. yup. d i think there are a lot of other thgs going on at the same time. ere was a global economic meltdown a i thinit was a little bit o an overreactn. but you certainly hav see a...

mo companies thinking about non-adverting supported models in sill von vley. >> rose: wt's the risk of someone like google and latude or microsoft or whatever ey might create or whoer originat software says sam had a grea idea, we ear going to copy it, we have me money, more resoues, we can hire more eng ars and watch out, sam. >>t appears tous that that's at happened with latitude. we developed very nice product and googl talked to us for a while and the came out th this >> rose: how did they talk to you? >> wwere right down the street from them so w went in to talk to them about. wesed their maps, i think we ud their search so they knew abo us,hey knew what we were doing, ty came out with latude. i'm hay to say that there was a lot talk about latitude is going to kill loopt a it hasn't come clos to happening yet. i think we have huge respect r google bute can outinnovate anody in the world. and we'r very focused on thi we're nimble, we're quicand we'll keep delivering a better

product. >> rose: so where do you want to takeoopt? we really wt to bethe where thworld comes from location awar seices. when you think about i wantto nd a friend or i want to find a restaunt or i want to add location to is other service, we think w understand that ally well. we have... we're very fortunate have deals in pce with all the major carriers. we have the biggest netrk of any oer of ou competitors by far anwe want to that a... deliver a seice. >> ros did you have to resist the... the firstarrier you went to, did they s"fine, we'll make a dl with you, sam, but it's exclusive." >> ty said exactly that. >> ros and you said... we were able to sho them the lessons fromext messageing this which has been impoant to rriers. text message until 20 you coul only texfrom one carrier to seone else in that carrier around that sameime, you cou text froany carrier any other carrier. and thgrowth went from someing like this toomething like this. anwe were able to tell the same story. that it benefits y more to

have location shing with everybody. because this is real a communication serve and people nt to communicateith the people they ca about no matter what networkhey're on. so we re able to tell that story. >> rose:p the operative idea ses to me that you...you ow more about this than i do. the operative idea seems to be iquity. get it o there inmore ways than you can possibly imagine. >> and make it available to everybody. >> re: ubiquitys your friend exclusivity i not. >> and many peopleave learned thatesson industry we, which isreat. >> rose: you're makingmoney. >> we areaking... we areot profitab but.... >> rose: you have cash flow. >> yeah. >> rose: great toeet you. thank you for cing. >> you as well. thanksery much. >> re: pleasure. captioning sponsored by rose communication captioned by media acce group at wgbh access.wgbh.org