>> charlie: welcomto the broadcast fromwo events tay in washingtona follow-up to our stories last night about the economic cris and also afghanistan and tn we introduce yoto anmazing ung argentine tennis player, age 20, who onmonday won the u.s. ope e first grand slam talking abt his tennisgame, his victory and s parents. >> i won the second set in the tie-break d after i start to play much better. i see hi backhand a he start to mis easy balls a he's moving andverything going slowly and say this is my moment. iried to keep the defense

becae everybody knows he's the be onend if he has an opportunit he take it and i did. >> that wil tell you that anytng can ppen. it's great to ha a great new fresh face in the n's ga. >> crlie: we conclude this eveng with the fabous julietteinoche in new york appearingn "dance" a film retrospecte and has a new film all "paris." what are you scad to do? >> stillcared of loving. >> chaie: are you really? cause you've bee hurt? >> how do you know that? i mean,you've goto be hurt. i think in the umiliation. >> charlie: nothing ventured, nothing gain. >> there humility and a feels a little contradictory b

th humiliation allows you to have the simplest tha requires the sort of a loving state. whicis not about urself but about something else. >> chaie: a folw up economics an afghanistan and juan martin del poo and juliette binoche.

captioning sponsed by rose cmunications frk city, this is charlirose. >> charlie: weegin wi the follow-up to the this financial chris because the the president's appearae and ben bernanke gav his appraisal since the economic crisis and sping in washington at the brookings institution he said the government stopped theree fall and strengthened key sects of the ecomy. overall the policy actio implemented stabilize a number ofey financial markets both in the united states andabroad. short term funding markets a futioning more normally. coorate bond issuance has been strong and aivity has picked up. stock prices are partially

recovered and u.s. mortgage tes have declined markedly. fears financial collapse have receded substantially. after contracting sharplyver the past year, economic activity appears be leveling out both in the united states and abroad and therospects for return to growth ithe near term appear ood. no withstanding the noteworthy progress, critical challenges exist. financialnstitutions face sig cast additional losses and househol continue to face diiculty inaining access to credit. becae of these andther factors e economic recough is likely to slow at firstith employment declining gradually from low levels. >> charlie: and takg questions of the speech he e elaborated on his foreca but warned of high unemployme said the economy

could soon grow ain. >> we are in aecovery and will see growth in the third quaer continuing and growt will continuento 2010. but the geral view o most forecasts that that pace of growth in 20 will be moderate, less than you might eect given the depth of the recession because of ongoing headwinds incling still going financial and credit problems, deleveraging by households. the needs for adjustmes in the economy, sectoral adjustments and the need foriscal exit and many factors that will likely at leas based on current informion make the2010 recoveryoderate andn particular notuch fasr sort

of the undlying potential growth rate of the economy and the arithmetic is unless the economy grows significantly faster tn its loer term growth rat it will be relavely slow increating jobs over a above tse needed to employ people comininto the labor foe a therefore the unemployment rat will tend to come down quite slowly. that's a risk and a possibility. there are risks both ses. we could have a stnger recovery or a weaker recovery but if we do in fac see derate growth but not growth much morthan the derlying potential growth race th unfortately unemployment ll be slow tocome down. it will come do but it will take time. obviously, that's a very serus concern and onreason why thoughrom aechnical perspective the recessions very likely ove at this point. it'still going feel like a

very weak economy for some time as many peop will still find their job security and their employmen employment status is not what they wish it was. >> charlie: and in a follow-up to the cversation about afghanistan, w looked at t testimony today of mike mulle the top military offic speaking on hearing on his nomination chief joint of staff and head additional tops will lely be needed in afan. >> don't know what adtional resources general mccystal may ask for or what ratio of training to combat units he really needs. we'll getoll of th in the coming weeks but i belie heing behind views and having great confidence inis leadership a properly resourced counter insurgency pbably

means more forces and without question, more time and more commitment tthe protection of e afghan oplend to the development ofood governments. >> charlie: admiral mullen addressed the prefence for building u the afghan surity forces before depling more combat troops. >> as you rightly pointed out last week,r. chairm, i share your viewhat larger and me capable afgha national security foes remain vit to that nation's viability. i share your view a have stated publicly the path to achieving the president's goal is through training efforts. we must rapidly bui the afghan army and poce. d i agree thate must develop more and better ways to peel away those not ideologicly committed to the insurgenc and integrate them back to the productive societynd we ha to recognize there both manpower and tim intensive. more important tha the size of

the afghan security force it's their quality. more important tha the orders they follow, is the leadership they exude. and moremportant than the numbers of talan we turn, are the personal lives ty emselves turn around. cond more trainersmore quickly ll give us aumpstart but only that. quality traing takes time and patience. private trust by thefghanso vital to our purpo is not foster in a public hurry. >> charlie: senatorohn mccaine the top republin warned without an increas in troops more u.s. lives wld be endang. >> general mccrystal as we know compted an assessment ofthe challenges sti in the way of meeting the president' straty which clrly will be the quirement for increases in trps and a want too phasize every day we dela in

implementing this strategy and increasing the number of troops there which we all know is varietily needed puts more and more youngersons already the lives' in danger. i don't think we should dohat. oneneral mccrystal recommends how many additional troops he thks is neceary. hope we don't delay the decision for long and will approve the troop increases that we know are being soug by genel mccrystal rking with gen petraeus >> charliewe offer ctinuing coverage of these two iortant stories in the ds and weeks and mohs ahead. up nex we meet the 09 u.s. open cmpion, juan martin del potro. >> charlie: this year's u. open tennis championship

s reaching a crowing achievent for rodgefederer anhe was in new york maring tord his 6th u.sopen. that expectation and tt dream was statered by 20-ye-old 6-foot-6 challenger, jn martin del poo. after defeating rafael nadain stight sets on saturday he confirmedhis skill and won the saga. here is tch point. >> he's getting closer here in the second serve.

>> andne of the great upsets in u.s. en histy. tennis has a new champion, 20-year-old jn martin del poo. >> charlie: he isthe first argentine to win the u.s. open since guillermo vill and pleased to have him here to lk abouthis trophy. >> thank you very much. >> charlie: what's most surising about this toy? >>everything. with the crown and my mind and i was losing since the first point and then i was fighting but losing theargin and it's difficult to play ainstoger but i of course i dideverything perfect after the second set and

i t the trophy. >> charlie: how was t third set differt from the first set in termsf your head a how you played? >>well, i won the second set in the tie breaker and after i start to play much better i see his backhand, h starto ms easy balls and hisovement is going slowly and a say this is my moment. i tried to kp the defense. >> he's got the t. >> he's t a match. >> because rer, everybo knows 's the best one and if he has an opportunity take it and i d trust myself just trust what my coach ys and that's it. >> charlie: wh was t

strategy? >> first tried to ensure it and was so nervous last night in the fit set andf course i would love to be in the final but i would love to win and the strategyas trying to find his backhand and i i have the chce to go to the net do it and be focussed every point becaus inow -- iream with th moment and will take my chance. >>harlie: you are must have talked on theelephone with your parents. >> yes, i talk whe i finished the matc but we can't speak too much because i was crying d they were crying andverybody s so excited and it w difficult talk. >> chaie: you have gone from ranked 60th to six in the last year. what changed aut your game?

>> a lot. i changedmy serve, my forehand i play moreggressive right now. i can play in every sface a that's very important to be top ten or to be a great champion in the future. zmr >> charlie: when you lk at this burg, samas, federer, federer, federer, you knewoing on that cot yesterday at 4:00 youad a chance. >> yeah. when i beat rafa i arto see the final. my mind change a lot. i stt to fl in the sensation and nvous of m first final

dhink that helpeme to be quiet in thatoment and to be focussed in the important moment d to fight for my hance. >> charliethe fact that you had played and bten rog before, did that make a difference? i was so close in the french open butost thematch. i missed with my serve. i don't play good points at imrtant ments and he takes his opportity and last night i did evything good. in the important moments iut the ball into the court. i was looking for my nner and that's the way to plawith roger. >> charlie: when you double faulted, twice --

>> that's a pity. doub flts his way right out of the set. federer leads o sets to one. >> charlie: whatid you say to urself? >> i say bad things. >> charliestop it. >> and many thgs. >> charlie: bad things? you said bad things to yourself? >> yeah, i say martin you keep fighting. you ar playing good and then you are cle to the set and y miss the serve. how can this poible buthen i lay down my head and the crowd start to tur f me d i feel everybody >> charlie: all wanted to see it go all the way to fivesets. >> it helped me a lot to keep

trying. >> charlie: the forehands croscourt. >> my! >> charlie: re adds hard and fast as anything i've seen and i've seen a lot of tennis. is that your best shot? >> yes, i ink s it's m favote shot and i use it at very important moments. it somtimes works. >> charlie: it setimes doest? but it mostly did. >> i go in the cour >>harlie: what's your asssment of rog's game yesterda we, roger plays -- he never changes his game ande has t game to bt meut yesterday i playedery focussed. i triedto move him to the

baseline and trying to play harder than him. the key to roger and nadal is to play unbeliable tennis and everything you suld do everything perfect and that' wh i did yesterday. >> >> you're the tallest pyer to win the open, maybe ever toin e grand slam, yes? >> yeah. >>harlie: why is that? why have tall playsot done as welin the past? >> i don't know. i feel vy comforbl with my size for m it's an advantage for the serv >> crlie: but like sampr you deveped ground strokes and you can play the baselines long as you need to. >> yeah, i love to play in the baseline but i want to improve in the net. charlie: if the forehandis the best shot, what the wor shot? what is theweakest? >> maybe volley.

>> charlie: the voey? >>eah, i think . if you have a goodvolley, a good slice you make difference. >> charlie: so here you are as the s. en champion and you cry with your parentsnd cheer with your friends and out late last night cebrating i'm ure, wh do you attribute it to. why are yogoing findour name on this trophy? >> this my dream. i always pctice for this moment. i always keep trying for winning the grand slam. of course myavorite is the u.s. open. >> charl: why is that? >> i don't know, i love new york. the lovehe flashin and everythingnd the trophy. >> charliewhat's your best

surface? >> hard ourt. >> charlie: and grass? >> not too good. and cl. charlie: and clay. >> learned to play tennis clay court and all argentinian ayers know. >> charl: ifou were starting would yohave a two-hand bahand? >> ah. >> charlie: you ill would? >> yeah. >> crlie: what's the vantage? power? >> more control. more power. when you feel nervous you have two hands to play. >> charl: the court sets, where does that come from? the sen of bng able to be smart about playing the court. just doing it. >>t's difficult to go to the cot to play against th best

tennislayer in istory. >> these hardest i've evereen this st hit. even his rction was great. >> charlie: he isn your judgme, rodger feder the greatestlayer er to pla the game? >> yeah, but i always thinking in my chce and my ga and believing in myself i was qut all the months tryingto tak my chance and think i did everything perfect. >> charlie: yes, you did. was there a moment in your career in which y thought u couldbe ere? cod win a grandslam. was it five yes ago or two years ago or ten yearsago or s it last week? >> no, i think aer french open -- >> charlie: really? >> i say -- >> chaie: i canin a grand sl? >> -- i can win a grand slam or

beat roger. >> charlie: who's toher for you, roger or rafa? >> roger. >> charl: roger is tgher? >> his game is soood and his slice, his volley, his serve and i don'like to play rafa because the ball comesharder. >> charlie: fr roger? harder? >> yeah. >> charlie: it used to be sai dcenroe mentioned ts that if you're frequeny you attack a tall pyer by trying to make them bend their knees more, did rafa and roger try that? >> yeah,verybody try. >> charlie: and you expect it. >> i aays work itut because i don't like to play agains roger because his slice too good

and i haveo laydown to hit the ball. if i improve in that moment i can be a good player. >> crlie: what'the dream now? maybe be number one. number o in the world. >> charlie: who else istough foyou other than roger? who gives you a hard time? >> murray. >> charlie: andy murra beuse of a milar me? >> yeah and we play junio playernd we have aarticular relation. >> charlie: whatind of relati? >> now w have a good relation. en we are juniors playin every touament and he beat me. >> charlie: telle about growing up. when d you start. when did you first put tennis

raquet up your hand >> six or sen. >>harlie: they put sen you. at happens when sebody in a small town in argentina with nnis game there to here. >> i play both sport and i remember theoment when my first coach said to me youave a chanceo be a great player but you haveo pick a spo if u want to be rofessional. i choose tennis and i think i did good choice >> chaie: do youlove the game? >> yeah. ye. ireally love tnis. >> charlie: what is it abo tennis that makes you love it so

ch? >> we li le anotherworld. welways been five-star hotels. we play in unbelievable cities, unbelievable stadium. >> charlie adoring fans. >> of course. everything is lovely. >> charlie: there's nothing wrong with yr life, is it? maybe therips w many many time-outs you are away from your family but y have more good things to e. >> charlie: nowhat you won you think they'll come to australia or wimbledon or paris. >> now that they believe in my game- >> charlie: y to get them to come? >> and keepwinning. >> charlie how much coaches have y had? >> jt tw theye been with me this

tournament and every tournament >> charl: pete samprasused to say to me and others t reason he this a fantasticerve was somethinhaving to do withis oulder. you've bn a great alete all your le. fast, grt hand-e coornation, all those things or not? >> yeah, first to ben a professional sport. >> charlie: you've got to be a great physil hlete. >>yeah, and i work forhat because every roger,rafa ande can run for six hours. that's what i want to do in the future. >> crlie: six hours run? >> yea >> charlie: rafa can d tha mo than anything. ysically he's the best aryou working on that? >> yeah, i want to be better. >> charlie: how tired were you in the fifth set. >> so tired.

>> chaie: you just saw t llapse at the end. >> yes, when we ar finished the fourth set i start to feel cramping imy legs but i want to show to anybody -- >> chaie: nobody. >> because if roger see that -- >> charliehe would take advantage. >> it would bempossible for me but when the match point's over and the match is over, i feel more relaxed and re confident. yo >> youaid as you talk to the crowd, youere going get a ssage. what did y do after the victorlast night? >> we take a dinr with some friends a then w go to bar and celebte a little bit. >> charlie: ts of toasts. >> yeah. >> charlie: congtulations. this ia rerkable. roger id i thought most appropriaty at the end you

deserved it. >> thank you very much. >> charlie: thank u. come back when you win wimbledo >> you're inviting me? >>? i'm inviting you now. thank you very much. it was remarkable. back in a moment. >> when you beat rafael nadal yesterday you said ihink this is the most beautiful ment in my life. w do yofeel now? >> much better. i ve two dres, one is u.s. op and the other is bt roger. one isdone, b i need t improve a lot to be like you. i would like to congratulate you. >> you know, in 118 yearsf is united states ampionship only one argenti has won the title, guillermo villa andone south american, here's the second.

>> it's ni to win. it's nice for southmerica and for me. i'm happy to be here with this crowd and tse people and this urt. i think this will be in my mind forever in my life. i dot have wor to explain that. >> charlie: juliette biche i here. in french she is simply kwn as la biche and won an awa for the "glish patient" and proven herself as dcer, poet and painter. this month in new york a contribution to the wod of art will be celebrated with dae performances, a film retrospective and the release of her new film "ris." here's a look at the trailer for that film. >> in paris aity of a thousand faces, eryone has a sry.

[ speaki french ] >> watching the lives of others opens the worldround him. [ speaking french ] [ speaki french ]

[ speaking french ] >> paris. >> chaie: i'm pleased to have juliette boche back at this table. welcome. >> thank you. >> charlie: te me what's it's about. u play elysse who comes to s her brother with your ree children. >> and finds out that he's sick. >> charlie: he's dying. >> he's dyin and so actually she sees her life a different

way after thatecause he's like a mirror of life. like, you've got make your lifehappy. nobody's going to it for you. >> charlie: and he's thinking of how he'll spend the time between and underands his mortality. >> and my characr's caught up between kids, work lack of money, lk of time, stress of cities and all that and then filly she's going to throu r brother's experience the treasure of life andnother way of livg and giving bk some kind of hopes and a oyfriend. but you have many different aracters in this film and different stories that cross each other and so it's, like y have other parents, it's interesting.

>> charlie: it's his. >> yeah. >> charlie: it is a cinematic love letter someo said to paris. >> yes, but i tnk it's true for any cit because you have so many memories. each corner lost you of this love or the fst kiss o betrayal or whatever. it becomes your hear and yougo from one ace to the next one and is always in side of you relateto a very specific emotion and thought and sensation as wel so paris is also t cityf lovers, course, and -- >> charl: city of ligh and love. >> a arts as well. there' lot about at in this film. >> charlie: had you always d an interesting relationshi with dictors. how was i with cedric? >> i wrote a poem ofim and did a portrait as well

>> charlie: talk about that. we'll ow aicture of th book in which y paint portraits of directors and of yourse and write poems. myselfin a movie in a ecific characr i played. actually i didn't know how i was going to come up but t ct of entering into the memor wi the brush and i and i was surprised mylf how it came out because the ideaas to jp into it without knowing. without having aental decision in me and i would always start witheyes. so that's why i waseen on lling this book portrait in eyes. if the eyes were not intse enough for dee enough o relate to this ple for each one had a different place, then i would throw it away and start again. >> charlie: has your relationship with directors today olved. is it difnt what with you

expect and the levelf inticy. >> well, you have a b of animal in you becaus otherwise -- >> charlie: i said i nicely. >> you hav to do and be everytng as actors. you got to b an animal as much as an angel and intellectual and you haveo transfo and directors low tyou with their ears and eyes to transrm and if you hav a wonderful relationip with a director it's like flng off. >> charl: and it frequently is >> i h this feelingf flng shooting. >> charlie: and ifou don't have that itakes it a miserae experience? >> no, you have to work in an another way.

side ways. not being too fronl. in the alcmy of shting there's rt of -- it kes you and it got to take you. otherwise if you mentalize everything you c't make it work i can't make a dision with my mind. i do it and play and theni know whether it right or wrong but it's my body not m mind. >> charlie: ha you more op because you're a more confident soul? >> i experienced so many different minds d heartsnd sometimes crazy, sometimes too perfect. prefer craziness as to raonal and conventional because craziness allows y to dare and i love daring because otherwise why? charlie: and that's been th nature ofour life. >> i think you have to check on you.

we tend to repeat ourselves and go to habits but to take differen angles allows you to be fresh again and spontaneous beuse we always want togo to the new. to dangero placeshere you don't know what's going to be the nt step cause otherwise why. then you change. you do sometng else. >> charlie: is fear part of your life then because you fear the w? you like the gamble you like the risk, youike the chance. >> i like the transformation. it's about transforming. >> charlie: becoming somhing else. ansforming. >> peeling off. >> charlie: being naked. >> there nakedness i love out any arts becse when you get into this empty space i call it you're end your trueelf and that's where fnd the fascinatio of the dance or the

painting there's place where it's not autyourself or you ll it's about something that gointo take you and guide you. that's the amazing tng. >> charlie: this is something you were bornwith, not somethinyou learneds it? you re like this as a kid? >> but you can fee it and you smell something and you ow with it and you learn. because i ma mistakes an thank god i made them because i learned from them d after tha e more you go e more you know thi i've done. i'm not gog to do i again. >> charlie: you look back at al >> well, this trospective of films, it'a looking bac but i wanted to the exbition of portraits and writing poems -- we in the beginning they were ju letters and i tookut words and they were poems. it became poems by itsf i'd say but i wanted to say something to tm because the firstmpulse i had writing was

to write t to kozlovskozlovsk at an urge of saying somethin >> charl: reading and knowing you from the interviews overhe year there's sense of adventure d you he chosen too almost like your heart has dictated what you do rather than your mi. you have not bee someone tha said how do i create a career. you basically sa how do i go out and be an artist in my own mind andow go out and have fun and explore and be curious and -- >> i'm not surprisethe heart isn the middlef our body because it's actually the refltion of another place. that's what i believe. it the dy, certain, and we li because ofhat space but i belie that if the mind is relad to the art, the mind

tells you and so creative but you have to relate it into your heart a ody. charlie: where does it begin the heart or mind? >> the problem i when you start to cut yoursel into pieces then you're o. you're off yourself. but you' right, the trigger is the heart. >> crlie: but you hav no regrets do y? >> i don't even tnk of that word. at does it mean. >> charlie: exactly. >> do i have regrets. i must have regrets but i don't see them as regrets. >> charlie: in oer words, you may ha made choice has i weren'the right choice but yo don't look bk and say oh, damn. >> you plunge into it and make miakes and that's part o it. >> charl: when you took dance tell me about how it ben. there's a story about your masseuse's hband was a

choreographer. >> she had her elbow in my back. >> charlieand you looked? no, but she asked dyou want to dance and i said s. >>harlie: she said do you want to dance? >> s, i was on my belly and i said yes and after that she invite to see mething and i loved it and we sat together. there was a sort of asilence. an intense silen because we didn't know how to srt with some how and inving me to do like three days in trying things d so for the three days it was inresting because the first day was about him showing me movementnd at t end i id i'm sorry, i'm not a ncer. i don't think at's a goo idea. started from nothing. i said nothing?

what dyou mean thing? >> were you doing other things while you were doing this or was it a obsessive twoear project? >> it wa difficultecause you've got to train your bod ah and breath and all that but what discovered was my engy. th muscl world with the tendons and theligaments and a chgong master and working th him -- >> crlie: this is after the dance thing start. >> while i was doing it and creating it had to have a cond life some how in order to protect myself because other wise i wouldn't survive because we were touringix months and going twelve different place and neyork was theast venue after we go back to brooklyn.

>> charlie: anhow many performanc? >> we'veone 80 perrmances and got 20 mo. >> charlie: are you re end touch with your bod >> the discovery of e body has en a woerful, wonderful journe >> charlie: abouwhat have you diovered? >> thechi. the energy i was telng you about. >> charlie: the i. you've got to trus your body. it's going toransform bit by bit and the ments of blurriness -- sometime i was literally blur. couldn't see and i codn't remember. the memory thing is crazy when you have to repeat a movent you n't remember anything and after a while it jt came but it's true, every night ia new discovy because the beginning has a certain quality and it's a transformationo it depes. >> charlie: you make a lot of

movies. >> di? >> charlie: how manyo you make a year. >> it tookme two yrs toake one year and in 11 months mad five films. >> charlie: that's theance and th bo. is there somhing to beaid about you at this stage in you life? you're writing, ur painng, yo dancing, an, you'lle singing beforeong. >> o, i think being the witne life you ve to mov mething new andit's -- it w like snowbl. you ow, one came after the other that came after theother. i'd say the first daring was to say yes without thinkin once you said you want toance. it was like do u want to do the impossible. do you want to imagine somethi new. >> charl: and tre's a rule i believe in you will only rret the thing you sayno, t not

the thin you say yes to. >> that's beautiful. >> charlie: that's at you regret, whatyou didn't o, not what you did do. what areou sred to do? >> sll scared ofloving. >> chaie: are you rely? because youe been hurt? >> how do yoknow that? you've got to be hurt some how >> nothingventured, nothing gained >> there's a humility you learn anit feels ntradictory but it ve well goes together. the humiliati allows to you ha the simplest, the simplicity tt requires this sort of a loving state. this is not aboutourself but about something else. >> charlie: have two children. >> yeah. >> charlie: how ol are they

now? >> nine and sixteen. >> charliethey have theirwn active life now? >> the older one. very independt,very mature. >> charlie: ar they with you? >> yeah. their father's in paris. but you're scared of love. >> i fall in easily d i would give everying but there must be another wa >> charlie: you wouldn't giv your art for love. >> i don think you can do that. >> charlie: you don't thinkou castop? >> no, because lifeis about findg your task and giving what you got to give in li. notabout giving up what your life is. >> charlie: itdds to it. >> it'sloving and out

everything it's accepting everything 's not dividing. >> charlie: but wh you look a al theork you've don acrs the spectrum do you think you work better when you'ra in love or when you'realone? >> that's a od question. in a certain way you work better when you're in love because you're more open, you're more vulnerable a -- >> charlie: d alive. >> but that's a way o loving in different way, when your not in love, you're ving too but in a different way whichs -- i believe you can rreate everything with your hear and mind and body and that's what we do as actors. we have to recreate but still -- you can fall in love wh a lot of different people. it doesn't mn you make lov to

them and have a lifeith them or whaver but there's a certn connection you can sha on a certainevel that the fallinin love is in a place wher it's -- ere it's -- >> charlie: yes. and there's risk and danger. if you'v looked at all the ople you fal in love with. >> i can see yo love th suect because you go on with quesons. >> charlie: yes indeed and why not. do all the menou fall in love with, are they alike or been ldly different or have this ininct to go for theame kind? that's an interesting question because i m said to me all the women i've been th is the same big woman and could see this big woman lying wn and being theame but i believe that actually i feel li i've been with a lo of

diffent men but why weo back that place each time, if you have to go back -- >> charlie: you say that as if you're exhausted thinkingabout it? >> i wish had just onean in my le it would be resolving all t things but it hasn't been lik that and thas the way it is. >> charlie: is itabout you o out them? >> is about both. but i'll take th responsibility. can take the responsibility. >> charlie: it's harfor you to ve one man? >> no, no, i'm very faithful. >> charlie: m not talking out fidelity, the heart,in other wos, it's not hard for yo you are not so curious, adventurous, se-directed th you could not be madl in love and faithful.

i'm trying to get out of it. i don't know h to t out of it. what's on the calendar -- >> what i wantedo say is it's about iaouple is that you -- why we go back to it is that it reaes an intacy that it don't reach in an another lationship where there's nota physicalelationship or intimate re intimate relatiohip and i think we go back to it because there's an interaction inside ourself we can only reach cause of the her. that what a beeve. and it's actlly more about being in touch with the depth of ourselves of the hidden pce of ourselves thate want so much to be with the other. i don't think it's abouthe other. you see what i'm ying? >> charlie: it's your own what? >>ecause you getin touch with aces that you've nev been in

touch with before yo met t person s - that's why it's unbearable setime and wonderful somemes. because you're reaching different spaces inside you. you wantoreach,f course, a place where tre's respect and then love. the respect iss the st fficult becauseou'vegot to be in touch enough wre you can stop, thers the limit to respect the other and it takes a whe. i think it takes maturity i order tget there and i have go plans -- [lghter] >> charlieyou reached that mature lev you can hane it now. >> i hope so. i'm still alittle girl and you' a little boyi'm sure because otherwisewh >> crlie: there is this also,

does acting give you some of this, some of this of l the things y just described about love does acting -- nothing can be, nothing, no work can be or should be all that you just said butif youave theright kind of pason for workit can be the closest sstitute i think. in other words, youan find a level of satisfaction, passion, sacrifice. >> i understand what you're saying. in the dance touring i was moving around a lot physically and then i did this fil fill in between now an the camera was very sti. like a ten-minute shot a nsequence shot and actuay the movement i was experiencing was inside and i said i'm

dancing inside. m dancing emotionally and it wasn't as clea as was at that moment and afr certain kes i felt like i'l never feel that frdom, that happiness agn because it's such an encounter and actually i asked why are you acin acting be you don't know -- th money is t your intest. >>harlie: that's not why you do it. >> you're suffering to get into a sudden state as an actress. where's your joy and i say it's the freedom ofcertain ments en you get nside and that you can share th the oths a well. it's irrlaceable. can u say tha charlie: yeah. the movie is "paris" ut soon

d you'll be at "bamto dance. the book is called "portrait ey". . e documentary film. thank you. >> thank you ? >> pleasure. thw for joining us. see you next tim captioning sponsor by rose comnications captioned by media cess group at wgbh access.wgbh.org