>> charlie: weome to the broadcast om two events today in washinon, a follow-up to our stories st night aut the economicrisis and ao afghanistan and then we introducyou to an amazing young argentine tennis player, age 2 who o monday won the u.s. pen. the first grand sm talking about his tennis game his victory d his parents. >> i won the second set in the tie-brk and after i start to play much betr. i seehis backhand and he star toiss ea balls and he's movingnd everything going slowlynd i say this is my moment. tried to keep t defense

cause everybody knows he'she best one and if he has an opportity he take it and i did. >> thatill tell you at ything can happen. it's great thave a grea new fresh face in the men's game. charlie: we conclude thi ening with theabulous julite binoche in new york appearin in "dance" a film retrosctive and has a new film all "paris." what are youcared to do? >> sll scared of loving. >>harlie: are you really beuse you've been hurt? how do you know that? i mean, u've got tbe hurt. think in the hiliation. >> charlie: nothing ventured, nothing gained >> there's a humility and a feels a little contradictory but

the humiliation allows you to have the simplest that requires the sort of a loving state. which not about yoself but about something else. >> charl: a follo up economics and afghanistannd juan martin del potr and juliette binoche.

captioning snsored by ro communications omk city, this is chlie rose. >> charlie: we beginwith the follow-up to t this financial chris because the the presidens apprance and ben bernankeave his appraisal since the economic cris and spiking in washington at t brookings institution h said the government stopped the free fall and strengthened key ctors of the conomy. >> overl the poli aions implemented stabiliza numbe of key financial marts both in the united states and abroad. short term funng marke are functioning more normally. corporate bond issuance has been strong and activity has picked up. stock prices are partially

recovered and u.s. mortgage rates have declined marked. fes of financial collae have receded substantiall after contracng sharply over the past year, economic activity appes to be leveling t both in the united stes and abroad and the prospects for a return to growth in the near term appe good. not withstanding e noteworthy progre, critical challenges exist. financial institutions face sig cast additial losses and housolds continue to face difficulty in gaining accesso credit. cause of these and other facts the economi recough i likelyo be slowt first with unemployment declining gradually from low levels. >> charlie: andaking questions of the speech he e elaborat on his focast but ward of high unemplment said the economy

could soon grow again. >> we are in a recovery and will see growth in th thirduarter continuing and gwth will contue into 2010. but the general view of most forecas is that that pace of growth in 2010 will be moderate, less than yo might expect given the dth of th recession because of ongoing headwis cluding still ongoing financial and credit problems, deleveraging byhouseholds. the needs for adjuments in the economy, sectoral adjustments and the need for fiscal exi and many factors that will likely at ast based on curnt inrmation make the 2010 recory moderate and in particular not muchaster sort

of thenderlying potential growth rate ofhe ecomy and th arithmetic is unless the economy grows significantly fast than itslonger term growth ate, it wille latively slow in creating jobs ov and above those needed to employ people cing into the laboforce and thereforehe unemploymentate will tend to come down quitslowly. that's a risk and apossibility. there are risks on both sides. we could have stronger recovery o a weaker recovery but if we do inact see moderate growth but not growth muchore than the underlying potential growth racthan unrtunately unemploymt will be slow come down it will comedownut it will take time. obviously, that's veryerious concern anone reason why though from a technical perspective the recessio is very likelyver at this poin

's still gog to feel li a very weak econo for some time as many ople will stl find their job security and their employmen employment status is not what they wish it was. >> charlie: and in a folloup to t conversation about afghanista we looked at the testimony todaof mike mlen the top military oicer speaking on heang on his nomination as chief jot of staff and head additional troops wi likely be neededin afghan. >> i don't know whatadditional resources genel mccystal may ask for or wt rio of training to combat units he really needs. we'lget to all othat in the coming weeksut i bieve hearing behind views and having great confidencen his leadership properly resourc counter insurgency probably

means more fors and without question, re time d more commitme to the protectn the afghan people and to the developmenof good governments. >> charlie: admiral mullen addressed the eference for buildi up the afghan security forces before ploying more combat troops. >> as you rigly pointed out last week, mr. chrman, i share your view that largernd more capable ahan national security forces remainitalo that nation'sviability. i share your vw and have stated publicly the path to achieving e president's goa is thrgh trainingefforts. we must rapidlyuild the afghan army andpolice. and i agree that we must devep morend better ways to peel away tse not ideolically committed to the insurncy and reintegrate them back to e productive society and wehave to recognizehey're both manpower andime intensive. more importanthan the size of

e afghan security force it's their quality. more importanthan the orders they folw, is the leadership they exude. and re important thanhe numbers ofaliban weturn, are the personal lives they themselves turn around. second more trainers more quickl will give us a jumpstart bu onlythat. quality aining takes time and patience. private trust by the afghans so vital to our ppose is t foered in a public hurry. >> charlie: senar john mccaine the top replican warned withouan incase in troo more u.s. lives would be ennger. >> general mccryal as we know mpleted an assessment of the challengestill in the wayof meeting the presidt's sategy whicclearly will be t requirement for increases in troops and a want too emphasize every day delay i

implementing thi strategynd increasing the number of troops there which we all know is varietily needed puts more and more young psons already there ves' in nger. i don't think we should do tt. so geral mccrystal recommends how many additional troops he thin is necessy. i pe we don't delay the decision for long and will approve the troop increases that we know are being sought by genera mccrystal woing with gen petraeus. >> charlie: offer connuing coverage of these two imptant stories in the day and weeks and mont ahead. up next we meet the 20 u.s. open chaion, juan martin del potro. >> charlie: this year's u.s.pen tennis championship

waeaching a crowing achievemt for rodger derer and was in new york marchg towa his 6th u.s. open. that expectation and tha dream was statered by 20-yearld 6-foot-6 challenger, juamartin del potr terdefeating rafael nadal straht sets on saturday he confirmed s skill and won the saga. heres match point. >> he's getti closer here in the second serve

>> and o of the great upsets in u.s. open story. tennis has a new champion, 20-year-old juan martin del potro. >> charlie: hes the first argentine to win the u.s.open since guillermo llasnd pleased to have him here t talk out this trophy. >> thank you very muc >> charlie: what's mt surprising about this t you? >> everything. with the crown andmy mind and i was losing sce the first point and then i was fighti but losing the margin and it's difficult to play against roger but i of course i did everything perfect afterhe second set and

i get the trop. >> charlie: how was the third set dierent from the first set in tms of your head and how you played? >> well ion the send set in eie breaker and after i start to play much better i see his backhand he start to miss easy bal and his movement is going slowly and a say this is my moment. i tried keep the defense. >> he's got e set. >> he's got a match. >> becse roger, evebody kns he's the best one and he has an opportuny he take it and did trust myself just trust what m coach says and that's it. >> charliewhat was the

strategy? >> first tried to ense it and i was so nervous last night in thfirst set and of course would love to be in the final but i would love to win and the strategy was trying to find his backhand a if i havehe chance to go to the net do it and be focussed every poi beuse i know -- i dream wit this moment and i will takey chance. >> charlie: you are must hav talked on th telephone with your parents. >> yes, i talkhen i finished the tch but we can't speak too much because was crying and they were crying and everybody was so excited and it was diffict to talk. >>harlie: you have gon from ranked 60th to six in the last year. what chang about your game?

>> a lot. i changed my serve, my forend, i pl more aggressive right now. i can play in every surface and that's very impornt to be top teor to be a gat champion in the future. zmr >> charlie: when you look at this burg, ampras, federer, federer, federer, you knew going on to thatcourt yesterday 4:00ou had achance. >> yeah. when i beat rafa i start to see the final. my mind change a lot. start to feel in the sensation and nervous of my first fin

and think that hped me to be quiet in that moment and to focussed in the importan moment and to fig for my chance. >> charlie: e fact thatou had played and bean roger before, did that make difference? >> was so close in the frch open but i lost the mah. i missed wit my serve. i d't play good pois a important moments and he takes his oprtunity and last night i dieverything good. in the importa moments i put the ball into the cour i s lookingor my winner and at's the way to play th roger. charlie: whenou double faulted, twice --

>> that's a pity. uble faults his w right out of the set federer les two sets to one. >> charlie: at did you say to yourself? >> i say bad things >> chaie: stop it. >> andany thin. charlie: bad things? you said bad things to yourself? >> yeah, i say, martin youeep ghting. you are playing good and then you are clos to the set and you miss the serve. how can this possle but wn i lay down my headnd the crowd start to turn for me an ifeel everybody -- >> charlie: well wanted to see it go all the wayto five sets. >> it helped me a lot to keep

trying. >> charlie: the forehands cross-urt. >> my! >> charlie: we adds hardnd st as anything i've seen and i've seen a lot of nnis. is that your best shot? >> yes, i thk so. it's my favori shot and i use it at very importantmoments. itomtimes works. >> charlie: it somimes doesn' but it mostly did. >> i go into the court. >> crlie: what's your assement of roger game yesterday? well roger plays -- he never anges his game and h has the game to b me b yesterday i played vy focussed. i tried movehim to the

baseline andtrying to play harder than him. the key to roger and nadal is to play unbelievle tennis and everything you should do everything perfect and tt's what i d yesterday. >> >> youe the talle player to win the en, maybe ever to w th grand slam, yes? >> yeah. >> crlie: why is that? why have tall player n done as well the past? i don't know. i feel ver comfortable with my size for met's an advantage for the serve. >> chaie: but like sampras you develod ground strokes and you can play the baseline a long as you need to. >> yeah, i love to playn the baseline but i want tomprove in the net. >>harlie: if the forehand the best shot, what's the worse shot? what is the weakest? >> maybe olley.

charlie: the voll? >> yh, i think so if you have agood volley, a good slice y make a difference. >> charlie: so her you are as e u.s. op champion and you cry with your parents a cheer with your friends and out late last night celrating i'm se, whato youttribute it to. why are you ing find yr name on this trophy? >> this is my eam. i always praice for this moment. i always keep trying for winning the grand slam. of course my forites the u.s. open. >> charlie why is that? >> i don't know, i love new york. the love t flashing and everything a the trophy. >> charlie: at's your best

surface? >> hard crt. >> charlie: and grass? >> not too good. and clay >>harlie: and clay. >> iearned to play tennis on clay court andll argentinian players know. >> crlie: if you were startin woulyou have a two-hand backhand? >> yeah. >> charlie: u stillwould? >> yeah. charlie: what's the advantage? powe >> more control. more power. when you fe nervous yo have two hands to play. >> crlie: the court se, where does that come from? theense of being able tbe smart about playing the court. just doing it. >> it's difficult to go to the court to play againstthe best

teis player inhistory. >> these hardest i'v er seen th shot hit. even his reaction was grt. >> charlie: he is in yr jument, rodger ferer the greast player ever tolay the ga? >> yeah, but i alys thinking in mychance and mygame and believing in myself iasquiet all the months trying takemy chance and i think i did everything perfect. >> charlie: yes, you did. was there a moment in your career in which you thought yo could he? coulwin a grand slam. was it five year ago or two years ago or ten years o or wa it last week? >> no, i think aft french open -- >> charlie: really? >> i say -- >> charl: i can w a grand slam >> -- i can win a grand slam or

beat roger. >> charlie: who'tougher for you, roger o rafa? >> roger. >> crlie: roger is tougher? >> his game is so good and h slice, his volley,is serve and i don't ke to play rafa because the ball comes harder. >> charlie: from roger? harder? yeah. >> charlie: it used to be said an mnroe mentioned thi that if you're frequentl you attack a tall plar by trying to make them bend their kneesmore, did rafa and roger try that? >> yeah, erybody try. >> charlie: and you expectit. >> i alws work it o because i don't like to play against roger because his slice too good

and i have t lay wn to hit the ball. if i improve in that moment i can be a good player. >> chaie: what's e dream now? maybe be number ne. number onen the world. >> charlie: who else is ugh for u other than roger? who gives you a hard time? >> murray. >> charlie: andymurray. becae of a silar ga? >> yeah and we play juniors player ae have a pticular relation. >> charlie: what kd of relation >> now weave a good relation. wh we are juniors we play ery tournent and he beat me. >> charlie: ll me about growg up when did you start. when did you first pu a tennis

quet upour hand. >> six or sev. >> crlie: they put ent you. what happens when somody in a small town in argentina with a teis game there to here. >> i play both sports and i remember the ment when my first coach said to me you he a chance tbe a great player but you have t pick a sport if yowant to be pfessional. i choose tennis and i think i did a od choice. >> charl: do you vethe game? >> yeah. yeah i ally love tens. >> charlie: what is it about tennis that makes youove it so

mu? >> we live lik another world. we aays been five-star hotels. we play in believable cities, unbelievable stadium. >> charlie: adoring fans. >> of course. everything is vely. charlie: there's nothing wrong with you life,s it? >>aybe the tps homany many me-outs you are away from your family but you have more good things to se >> charlie: now ttou won do you think they'll come to australia or wimbledon or paris. >> now that they believe in my game - >> charlie: tr to get themo come? >> and keep winning. >> charlie: how much coaches have youhad? >> jus two. they'vbeen with me this

tournament and every tournament. >> charliepete sampras ed to say to me and others theeason he this a fantastic sve was something ving to do with h shlder. you've beea great athte all your lif fast, grea hand-ey coordition, all those things or not? >> yeah, first to be ia ofessional sport. >> charlie: you've got to be a great physica atete. >> yeah, and work for tt because every roger, rafa and h can run for six hours. that's what i want to don the future. >> chaie: six hours run? >> yeah. >> charlie: rafa can do that morehan anything. phically he's the best. are u working on that? >> yeah, i want to be better. >> charlie: how tired wereou inhe fifth set. >> so tired.

>>harlie: you just saw the collapse at the end. ye when ware finished the fourth set start to fe crampi in my legs but i wan to showo anybody -- >>harlie: nobody. >> because if roger see that -- >> charlie: would take advantage. >> it would be iossible for me but whenhe match int's over and the match is over, i feel more relaxed and mo confident. you >> you sd as you talked to the crowd, you we going get maage. what did youo after the victory st night? >> we take a dinne with some friends and then we goto a bar and celebra a little bit. >> charlie: lo of toasts. >> yeah. >> charlie: congralations. this is remaable. roger sa i thought most appropriatelat the end you

deserved it. >> thank you very much. >> charlie: thank yo come back when you win wimbledon. >> you're inviting me? >>? i'm inviting you now. thank you very much. it wasremarkable. back in a moment. >> when youeat rafael nadal yesterday you said i tnk this is the most beautiful momt in my life. ho do you el now? >> muchetter. i ha two dream one is u.s. open and thether is bea roger. one is done, but ieed to improve a lot to be like you. i would like to congratulate you. >> you know, in 18 years of this united states championship only one argentine has won the title, guillermo villa and e south american, here's the second.

>> it's niceo win. it's nice for south arica and for me. i'm happy to be here with this crowd and the people and this cot. i thinkhis will be in my mind rever in my life. i don' have words to explain that. charlie: juliette binoe is here. in french she is simply kno as la binoe andon an award for the "enish patient" and proven herself as a danr, poet and painter. is month in new york a contribution to the worl ofrt will be celebrated with danc performances, a film retrospective and the release of her new film "pas." here's a look at the trailer for at film. >> in paris a cy of a thousand face everyone has story.

[ speaking french ] >> watching the livesf others opens the world aund him. [ speaking french ] [ speakingrench ]

speaking french ] >> paris. >>harlie: i'm pleased to ha juliet binoche back at this tabl welcom >> thank you. >> charlietell me what's it's about. you play else o comes see her brother with yr three children. >> and finds out that he's sick. >> charlie: he's dying. >> he's dying and so actually she sees her life in different

way after that bause he's like a mirror of life. ke, you've got to make your fe happy. nobody's goingo do it for you. >> charlie: an he's thinking of how he'l spend thetimebetween and understds his rtality. >> and my charactes caught up between kids, work, lack of money, lac of time, stressf ties andall that and then finay she's going to through hebrother'sxperience the treasure of life and ather way of livin and giving bac some kind of hopes and a bfriend. but you have so many different chacters in this film and different stories that cross each other and s it's, like you have oer parents, it's interesting.

>> charlie: it's his. >> yeah. charlie: it is a cinematic love letter someone said to paris. >> yes, but i thi it's true forny city because youave so many memories. each corner lost you of this love or the first kiss or betrayal or whatever. it becomes your art and you go from one place to the next one and it's always in side of y reted to a very specific emotion and thought and sensation asell. so paris is also the ci of love, of course, and -- >> crlie: city of ghts and love. and arts as we. the's a lot abo that i this film. >> charlie: had you alway had an interesting relatiohip with directors. how wa it with cedric? >> i wrote poem of him and di a portit as ll.

>> charlie: talk abo that. we'll show a picture othe book in whi you paint portrai of directors and of yoself and write poems. >> mysf in a movie in specific chacter i played. actually i didn't know ho it was going to come up but the fact of entering into the mory with the brush and ink and i was surprisemyself how it ce out because the idea was to jump into it without knowg. without having a mental decision ine and i would always start th eyes. so thas why i was keen on calling this book portrai in eyes. if the eyes wer notntense enough foreep enough or reted to thisplace for each one had a different pla, then i would throw it away and start again. >> charlie: has yr relationip with directors today evolved.

is iifferent what withou expect and the level of timacy. >> well, y have a bit of animal in you beuse otherwe -- >> charlie: i sa it nicely. >> youave to do and b evything as actors. you got be an animal as mu as an angel a intellectual and you ve to traform and directs allow to you with their ears and eye to tnsform and if youave a wonderf relaonship with a director it's likflying off. >> crlie: and it frequently is. >> had this feeling offlying shooting. >> charlie: and if y don't have that it mes it a miserabl experience? >> no, youave to work in an another way.

side ways. not being too fronta in the alche of shoong there's so of -- it tas you and it's got to take you. otherwise if you mentalize everything you can make it work. i can't make a decion with my mind. i do it and play and then i know whetheit's right or wrong b it's my byot my mind. >> charlie: haveou more open because you're a moreonfident soul? >> i experienced so many different minds an hearts a sometimes crazy,ometimes too perfect. i efer crazinesss to ratial and conventional because craziness allows youo dare and i love daring because otherwise why? >> charlie: and that's beethe nature of your life. >> i tnk you have to check on you.

we tend to repeat ourselves and go to habits but to tak diffent angles allows y to be fresh aga and spontaneo because we always want to go to the new. to danrous places where you don't know what' going tbe the next step because otherse why. then you change you do sething else. >> charlie: is fr a pt of your lif then becau you fear the new? you le the gale, you like thrisk, you like e chance. >> i like the transformation. it's about transforming. >> charlie: becomingomething else. transforming. peeling off. >> charlie: beg naked. >> tre's a nakedness i love about any artsecause when you get into this empty space call it you'rend your true self and that's wre i found the fascinion of t dce orhe

painting the's a place where it's not about yourself or your wi it's about something that's going take you and guide you. that's the amazing thi. >> charlie: this is something you were born with, not something u learned i it? you we like this as a kid? >>but you can feel it and you smell something and you gr with it and you arn. because i made mistakes and thank god i made them because i learned from them an after that th more you go the more you know this i've done. i'm not gointo do it again. >> charlie: doou look back at all? >> well, this reospective of films, it's looking back but i wanted to dohe exhition of portraits and writing poems - well in the beginning they wer just letters and i took out words and they were poems. it became poems bytself i'd say but i wanted to sa something to them because the fit impulse iad writing w

to write to to kozlovskozlski at an urgef saying someing. >> crlie: reading a knowing you from the interviews or the year there's a sense of adventur and you have chosen too almost ke your heart has dictated what you do rather than your mind. you have noteen someonehat said how di create a career. you basicallsaid how do i go out and an artist in my own mindnd how go out and have fun and explorend be curious and -- >> i'm t surpsed the heart is in the middle of our body becaus it's actuay the flection of another place. that's what i believe. it's the body, cerinly, and we live because of that spaceut i lieve that if the mi is lated to the heart,he mind

tells you and so create but you have relate it into your heart and by. >>harlie: where does it begin the heart ormind? >> the problem is when you start to cut yourself into pieces then you're off you're off yourself. but you'reright, the trigger is the heart. >> chaie: but you have no regrets do you? >> i don't even think of that word. what does it mean. >> charlieexactly. >> do i have regrets. i must have regrets but i don't e them as regrets. >> charlie: in oth words, you may haveade choice has it weren't e right choiceut you don't look bac and say oh, damn. >> you plungento it and make mistes andhat's part of it. >> charliewhen youook dance tell me about how it bega ere's a story about your masseuse's husnd was a

choreographer. >> she had herlbow in my back. >> charlie: d you looked? >>no, but she asked do u want to dance and i said ye >> crlie: she said do you want to dance? >> ye i was on my belly and i said yes and after thathe invited me to see sothing and i loved it and we sat together. there was a sort of a silence. an intense silence because we didn't know how to sta with some how and invitg me to do like three days in trying things an so for the three days it was intesting because the first day was abouthim showing me movement a at the end i sa m sorry, i'm not daer. i don't think th's a good ea. it started from thing. i said nothing?

what do u mean noing? >> were youoing otherhings while you were doing this or was it an obsessive two-yr oject? >> it was difficult bause you've got to train yourod ye and breath and all that but what iiscovered was my ener. the muscle worldwith the tendons and the gamentsnd a chi gong master and working wi him -- >> chaie: this is after the dance thing started >> while i was doing it and creating it i hado have send life some hown order to protectyself because other wise i wouldn'turvive because we were touring s months and going towelve different place and new rk was the lt venue after we go back to brooklyn.

>> charlie: and w many performances >> we've de 80 perfoances d got 20 more >> charlie: are you mo end touch with your body? the discovery of th body has be a wondful, wonderful journey. >> charlie: about at have you discered? >> the chi. the energy i was telli you about. >> charlie: the ch >>ou've got to trust your body. it's going to tnsform bit by t and the momts of blurriness -- sometimes i was literally blurry i couldn't see and i coul't remember. the memory thing is crazy when you have to repeat a moveme you cat remember anything and after a while it jus came but it's true,very night is new discoverbecause the beginning has a certainquality and it's a transformation sit depend >> charlie: you make a lot of

movies. >> do i? >> charlie: how many dyou make a year. >> it took two yea to me one year and in 11 months i made five films. >> charlie: that's the dce and the book there sometng to be sd out you at this stage in your life? you're writing, yo painti, yourdancing, i me, you'll b singing before lg. >> n i thinkbeing the witness ofife you ha to move to sothing new and 's -- it was like a snowbal you kn, one camefter the other that came after the her. i'd say the first daringas to say yes without thinkingnce you said you want to dce. it was like do yowant to do the impossible. do you want to imagine something new. >> charlie and the's a rule i lieve in you will only regt the things you say no, to not

the thingsou say yes to. >> that's beautiful. >> charlie: that's wh you regret, what u didn't d not what you did do. what are y scad to do? >> sti scared of loving. >> charl: are you real? causeou've been hurt? >> how dyou know that? you've got to be hurt some how. >> >> nothing ventured, nothing gained. >> there's a humility you learn and feels coradictory but it veryell goes together. the humiliation allows to you havehe simplest, the simplicity tha requires this sort of a loving state. this is not about yrself but about something else. >> charlie: have two children. >> yeah. >> charlie: how old are they

now? >> nine and sixteen. >> charlie: ey have their o active life now? >> the older one. very independen ry mature. >> charlie: are they with you? >> yeah. their father's in paris. but you're scared oflove. >> i fall in easily an i would give everythg but there must be another way. >> charlie: you wouldn't give your art for love. >> i don'think you can do that. charlie: you don't think y can stop? >> no,ecause life about findinyour task and giving what you gotto give in life not out giving up what your life is. >> charlieit adds to it. >> is loving and about

everytng. it's accepti everytng. it'sot dividing. >> charlie: buwhen you look at all the work you've done acros the spectrum do you think you work better when you'ra in love or whenou're alone? >> that's a go question. in a certain wayou work better when you're in loveecause you're more open, you'reore vulnerable and -- >> charlie: analive. >> but that's a way o loving in a fferent way,hen yourot inlove,ou're long too but in a different way which i -- i believe you can recate erything with your heart and nd and body and that's what we as actors. we have torecreateut still -- you canall in love wit a lot of different people. it doesn't meayou make love to

them and have life wh them whater buthere's a certaiconnection youan share on a certain lel that the falling loves in a place where it's -- whe it's -- >> charlie: yes. and there's risk and danger. if you've looked at all the pele you fallin lovewith. >> i can see you love the subjt because you go on with questis. >> charlie: yes indeed and why not. do all the men y fall in love with, are they alike or been wily different or have this instct to goor the se kind? >> that's an interesting question because i man said to me all the women i've been wi the same big woman and i could see thisig woman lying do and being the se but i believe that actually i feel like've been with a lot of

differt men but why we g back to that place each time, if you have to goback -- >> charlie: you say that as if you're exhausted thinking out it? >> i wish i had just one m in my lif it would be resolving all the things butt hasn't been like that and that' the way it is. >> charlie: is it out you or abt them? >> it' about both. but i'll take the sponsibility. i n take the responsibility. >> charlie: it's hard r you to ha one man? >> no,no, i'm very faithful. >> charlie: i'not talking abt fidelity, ofhe heart, other word it's not hard for you, you are not so curious, adventurous, selfirected that you could not be madly in love andfaithful.

i'm trying to get out ofit. i don't know how to ge out of it. sohat's on the calendar -- >> what i wanted t say is it's about in cple is that you -- why do we go back to it is that it reach an intimy that it doest reach in an another retionship where there's not physical rationship or intimate re intimate relationsp and i think we go back to it because there's an interaction inside ourself we can only reach beuse of the otr. that'shat a belie. and it's actuay more about being in touch with the depth of ourselves of the hidden pla of ourselves that wwant so much to be with the other. i don't think it's about t other. you see what i'msang? >> charlie: it's your own what? >> bause you get touchwith places that you'veever been in

touch with beforeyou met the person so -- that's why it's unbearable somime and wonderful sometis. cause you're reaching different spaces inside you. you want t reach, o course, a place where the's respect and then love. the respect is ithe mo diicult because y've t to in touch enough whe you can stop, there'the limit to respect the other and ittakes a whil ihink it takes maturity in order to t there and i have good plans -- [lauter] >> charlie: u reached that mature levelou can handl it w. >> i hope so. i'm still a ttle girl and you're little boy m sure because otherwise why. >> chaie: there is this also,

does acting give you some of this, some of this of al the things you just described about love. does acting -- nothing can be, nothing, no work can be or should be all that you just said but you he the ght kind of passi for work can be the closest subitute i think. in other words, you c find a level of satisfaction, passion, sacrifice. >> i understand what you're saying. in the dance touring i was ving around a lot physically and then i did this fil fill in between now and the camera was very still like aten-minute shot a coequence shot and actuall e movement i was experiencing was insideand i said i'm

dancing inside. i' dancing emotionally and it wasn't as clear as it was at that moment and afte certain tas i felt like i'll never feel that freem, that happiness agai because it's such an encounter and actually i asked why are you acin acting be you don't know -- the money is no your intert. >> crlie: that's not why you do it. >> you'reuffering to get into a sudden state as an actress. where'sour joy and i sayt's the freedom of rtain monts wh you get iide and that you can share wi the other as ll. it's irrepceable. can yosay that? >>harlie: eah. the movie is "paris" o soon

an you'll be at "bam" to dance. the book is called "portrait in eyes . th documentary film. thank you. >> thank you. ? pleasure. threfor joining us. see you next time. captioning sponsoredy rose commucations captioned by media acss group at wgbh access.wgbh.org