>> rose:elcome to the oadcast. health care refo took a step forward today when senatormax baucus, the chaian of the finance committee, aounced his plan. 'll talk to one meer of the gang of six which had a lot to do with negotiating wt came out of the finan committee, senator jeff bingaman, democrat from new mexico. >> thistakes you from about 8 of our population having insurance coverage to sometng close 95% of our population havingnsurance covage. and that has enorms benefits, t just for those individuals butlso it hel take the pressure off of the premiums that people are paying tod becae the premiums that people are payin today that have surance reflects t cost of

priding health care to folks thaton't have insance. >> rose: then to twoerrific directors who happeto be women they are jane comp i n't know who has aew interesting film called "bright star" abo a affair with jn keats >> halfway through biography of keats, i came across this love story. i didn't know about it and was just completely orwhelmed by it and keats died and ty had to be separate i just... something about the purity and the tenderness of it and... just got througto me. and i didn't at t time ink i knew of a way of makin it into a film. but had such an impact, it stayed with and i kept returning to the ideuntil i thought of the idea of tellng it throug brawne. >> rose: and cherine bigelow, the direct of of "the hurt locker," coming with director screenryer markoal.

i think of them as surgeons where they hav extraordinary motor ills. >> dterity. extraordinary dexterity but ere's absolutely no marg for error. so if surgeon isorking on a patient, they make a mistake the paent dies. in this case, if the sueon makea mistake, he die >> but the end the day, they're stilluman beings engaged this very mechanical, ctile sense with the bos. so even... it'sncredible to me that evenin 2009 th kind of thing is going on. but it haso do with the complexity of the bombs and the way they areade to decide to deal with them. but that's wt the movieeally captures. >> re: health care reformnd twvery interesting fm directors when we continue.

captioningponsored by se communications from our studi in new york ty, this is charlie rose. >> rose: senator max baus, chairman of thsenate finance coittee, today released his much-anticipated heah care reform bil the proposal wou provide health iurance for nearly 30 milln americans at a cost of $856 billion over ten years. the bill would also impose stcter regulations on the insurance industry, cut medicare spending, and provide subsidies for low-income americans. senator bauc said the bill represented true compromise effort tha could pass congress. >>we've do everything

imaginable to ge the most generous, most aordable coverage that we could within president obama's target of $900 billion. there are honest and principled differences amg all of us working for reform and this packagmay not represent allf our first choices. but athe end of the day, we all share a common purpose: that is to make t lives of ericans better tomorrow tha they are tod and to t heah care reform done. ich means the te to come for action is now, and we willct. we will act and pass health reform legislation this year. >> this probably one ofhe largest pies of social legiation in history since the depression. it affects everybody i our country. it affects erybody in my different ways. >> ros the bill was afted after mont of negotiations among a bipartisan group dbed "the gang of six." many in washington conser it

the only proposal with a chance of gainiepublican support, but so far no republicans have endorsed it. joining me now are washingto is one member of e gang o six, senato jeff bingaman, a democratrom new mexico. he has indicated that he will support the bill proposed by setor baucus today. i am pleas this evening to ve him on this program welcome. >>ice to be here. thank u. >> rose: give meour assessment of this. at in the end does the compromise do and not do that you favor? >> well, i think it does the main this that the president's been talking about. it reforms the health insurance industry practices which need to be refmed, such as denying fos coverage for pre-exting conditions. it outlaws that. it has vaety of provisions in

it toeform the insurance market. it also reforms the paynt system in medicare and in dicaid, the main two vernment programshat relate to health care. expands coverage. as you said in your earlr statemt, it expands corage to a lot of folks who currently don't have coverag it also, according to the congressional budget offic is able to do this while reducin the si of theeficit in the xt ten years d reducing the growth in heth care cos over the next couple of decades. rose: noticeably, obvious, is the questn of puic option. where do you stand o that, first. d, second, does this bil suggest at public option is dead as alternative? >> well, fst, i've been fortunate toe on both the finae comttee-- which is the committee senator baucu chairs-- and also the heah and education committee that senator

dodd cired on a interim basis dung senator kennedy's illness here, prior to his death. d i support a public option. i supported it in the health and ucation committeeill that we ported out. i pe we'll have the votes to adopt a publi optio in this bill, in e finance bill that senator baucus put forward, he has proposed that we do a co-op sysm, the federal governme do that instd. i thin thatepending upon how thatas plemented it could get you to what the same place. i don't think it's as good a choice, but i could pride the same kind mpetition and a chce for folks if was properly impmented. >>ose: you realistically think theo-op could be the competion that the publi tion would have offered? >> well, i think it... it could d it depends who

takes up the challengeo establish co-ops andhow well establhed they become. thers no reason w under the language of the bill tha senator baus put forward a co-op could not establish itself and indicate that it's going to geticensed too business in 50 states and become a signifant competitor to the prate insurance industry. and provi a very genuine choice for folks. i dot know that that would happen. as i say, irefer theublic option where the cretary of health and han services is directed testablish a nonpfit that would operate on a natial basis. i thinkhat's preferable. >> rose: wh would have been necessary to get republica? you've bee negotiating with republicans, tsupport this ucus plan. >> well, ithinkenatoraucus has gone the extra seval miles to try to get republican support

and i hope that by the end of our markup weill have som republican support. i don't think th we have a final answer for from the republicans as to whether not theyould be able to support a bill comingut of the nance committee. i hope they'll be able to. but i feel ver strongly that senator bcus hasriedo fin something here tha would accommodate some of th legitimate concerns the that folks ha raised. anat the same time achie thobjective it is predent set out. rose: when you look at t medica cu, som democrats are questioning whether they are cuts ifact. anrepublicans say th's part of what's wrg with the baucus plan. >> yeah. and, frankly, there's a t of iron in this. most othe republans have en fighting againstmedicare for years and yrs and have fought t establishme of it and now they're claiming that they're the eat defenders of

it. the proposal that senator baus has made is not t cut medice beneficiaries the benefits available to people uer medicare. it is, though,to insist upon increaseefficiencies in the adnistration of medicare and to get awayfrom some of the excessive payments to heal insurance compies that are being made i mecare. and i think evy exnaert's looked a it says thatthere's a lot of fedal spending that ca be curtled inthat area without advsely affecting benefits of medicare neficiaries. >> re: how will this bill affect the qlity of health care? >> well, we hope that the payment reforms in medicare d in medicai, partularly medicare, stns where'she federal government weights in the heaviest, we hope that those yment refor wl cause

provides to focus more on quity, focus less on quantity tee or volume of serces provided. and that thatillarry through the entire health care delivery system. we believe strongly that there's been too muc focusn... since medicare curntly reimburs priders on the bas of how many procedures thperform in many cases, tha ten to emphize quantity instead of quality. we're tryi to get away from that. >>rose: what were the challenges in terms of addressing the ct element? >> oh, i think challenges are substantial in addssing the cost element. ain, i think part of the problems that everyo likes what they have now, when you try to y "we're goingo save some money in medicare by cutng

back on the excessive profits some companiesave been able to on main that area that' a challenge. u get a lot of pushback on that. i think tha containing cost also is how do you bud into the deliveryystem so disincentives to overuse t system? and uortunately we got aot of couragement of people to overusthe system. people with extremely good health care coverage really have no reason to think about what it costs, no reasono concern themselves with at. and we need to find some way to send a signal to everybod that there is a costnvolved every time you ring up the physician or y go by your psician's office and people need to understand that. >> rose:s you obvusly know as a practicing politician,

there has been this rising... that this has kenenter place the destic equatn of american politicalife in washington and around th cotry with donstrations and all the other thgs that have happened at town meetings. wh do you think has influenced in the publicdebate... has had thmost influence on what haened in washington? >> well, i don't know. i think the are forces on all sides of it. i do think that the public... ere's agenuine concern about the si ofeficits. >> rose: right. >> and this is coming up at a ti when the federal government has taken on lot of additional spending in der to helpus get theconomy growing again. we passed th stimulus package earlie this year which i think was the right thing to do in orr to get uout of the recessn. but therare many in the public

who doubt that and who disagree with that point of view. so there's gitimate ccerns. i think the's also som element of politics involved in this. and i do thi that there are folks... some inhe congress who prettyuch made it clear that they don't want this president have this kind of an achievement when he gets around to running again and the think that's ather reason why we should oppose this. >> rose: how large an element is at, do you think? >> well, i don't know that it's the overwhelming eleme, but i do think ere's some of that that you pick up in statements that members congress have made. >> rose: that they c't imagine any health car reformhat they would support. >> well, think the position is they wouldn't want to support any mar health care reform on th president's watch.

>> rose: do youave any thouts about the fact that... what jim carter said andhat some columns ha been writing abt race has become an element in the opposition to president obama? i don't have anyeal insight into that, quit frankly. i don't think it's a signicant factor in this healt care debate. i have not in any way picked it ups a factorin thisealth care debate. i do thi there's some rl politics iolved, as i indicated. but think that we've got a democratic president he who is encountering very stf oppositi from some who are very anxious to see him fail and i hope that that's not majori. and i beeve it's not a majority. i think that most people in coress are trying to deal with the issue the merits most democratare, most republicans are,and i hope that that's the

way it comes out the end. >> rose:ou thinkyou'll get olympia snowe's support? >> i rtainly he senat snowe will support this bill once it goes rough a markup process. she is clely concerned about the probm in a very genuine way and i've spenthe last couple o months in a lot of hours of meengs with senator snowe and the st of that group six she is genuily trying to find a solion that she can support. and so i have no doubtabout her bona fides onhis issue. rose: so she's lking for sothing she can support. she's clearly on the sidof someone whbelieves we ought to have heah care reform and present me, mr. psident, congress, th a bill that i can support beuse that's where i want to be. >> that's my reading of the situation. i thinkhe's genuinely anxious to support major health care reform because she recognizes the problems that existin our

current system. >> rose: finallyhis. the gang of six was a good idea? >> i think it was good idea. i think that the bl is a better product now than it would have been had we jt gone rectly to aarkup in the finance committee without the input of diffent point of views. i can't say... you know, thiss one step? a multistep process but i think senator baucus deserves some credit foraving put togethe a very credible proposal. and i thin this group of six process that he devised helped him do tha >> rose: sator bingama, thank you very much onhis day for talking with us. >> nice to talk to you >>ose: senator jeff bingan from new mexico. back in a moment stay with us. >>ose: janeampion is here. she isn acardmy award winning director and writer.

he films have examineduman passion, menl illness and the arstic temperament. in 1993 she won the best screenplay oar for her fi "the piano here's aook at some of her earlier work. >> sweetie, i'm afraid you can't come this time. i want you to stay, okay? come on, priess. if you're dad's rl girl, you know that, don't you? come o outou go. >> no! >> it's not musty at all. you taste one. >> we shouldn't be doing this. >> no, go on.

>> she says it's p piano and she won't have him toucht. he can't read, he' ignorant. >> you'll be le to play it. teh him how to ok after it. >> go on like this. >> i made a plan years ago and i'm acting on it today. >> it mustave been a very pleasant one. >> it was, very simple. it was to be as quiet as possib. >> as quiet? >> not to worry, not to strive no struggle. toontent myself with little.

i've spent a gre many years here on thatlan and been not at all unhappy. >> came from behind you? >> i don't know. >> did yo turn? >> he just... he grabbed my head in h arm. he had his arm around my neck. >> so he must have come up from behind you, then. was it his right arm or his lef >> iwas his right. >> rose: comp i don't know's newest film may beerest yet. "brit star" recounts the two life romance between doomed poet john kts and the love ofhis li, fay brawne. sheer look at the trailer >> i had such a dream last ght. i was oating above the trees with mylips connected to those

of a beautiful figure. >> whose lips? where they my ps? ♪ >> i'm re he really like me. >> mr. keats knows he cannot likeou. he has no living and income. >> he was a dreamer. >> have yougot john keats'oem ok? >> my sisr has met the author. she nts to read it for herself to see if he's idiot or not. >> she was a realist >> all i wear i've sewn a designed mysf. >> poet's got to do a bit of writing. >> m stitching hasmore merit and airers than your two ribbling put together. >> and i can make money for . >> but every wd he wro inspired the raptureof first love. >> "a thingf beautys a joy forever,ts leliness increaseit will never part into nothingne." >> this fall, from academy award winner jane campion comes a romae that would live forever.

>> i get anxious if i don't see you. >> when i don't hear fromhim, it's as if i died. if the air is suckedut from my lungs mr. ats is very briiant. >> is he successful? >> you taught to le, you never said only e rich. >> i must warn you the trapthat yore walking into. >> you'll lose yo freedom permanently, for what? >> you'vealready the sourc of souch gossip. >> apparenying there there's nothing i cado to psuade you of the gravity of this situatio >> we must t t threads. >> no, can't! i never will. you know i would do anything. >> it is a game. it is a game toher. there aoliness to the heart's affection. you know nothi of that. >> ros based on the truetory a blliant poet and the bright star o was his sning light. >> i almost wish we were tterflies and lived but fly suer days. three suchdays with y i could

fill with more delighthan 50 common yrs could ever contain. >> rose: i a pleased to have jane campion backt this ble. welcome. >> thank youthank you very much. >> rose: is this one of the great love stories simply cause keats was such a great poet? >> well, yh. i mean, ihink possiblyo. i tnkit's alsoore particularly becse the letters survived t-3 3 love letters and notice tha keep wrote fanny. fanny kept after his death and when she finally died r children sold them. soou canctually readhat he wrote to her. i mean, to me the story i passionate d extraordinary first love story a romeoand juliet, exey want is one's real. >> rose: h did you com to decide to make t movie. >> younow, i ad... when i turned 50 i thought, you know, it's about ti i....

>> rose: did wt? aughs) >> understood poetry better. so i was not so afraid of it. etry has a way of making me feel stupid. i didn't feelike i undersnd . so i cided to read andr motion's biography. read a richard holme biograph of carla rich which i just loved. rose: right. and halfway throh the biogphy of keats i came across this love sry. i didn't know aut itnd i was just completelyverwhelmed by it. and when keats diednd they had to be parated, i just... something abt the purity and the tenderness of it justot throh to me. and i dn't at the te think i knew oa way of making itnto a film, but i had such an impact, it staye with me and i kept returningo the idea until i thought of the ideaof telling it through fanny brawne. >> rose: you havelways loved the romantic impulse. >> yes. >> rose: (laughs) in every film.

>> yes, setimes in a gothic way, sometimes i an absurd way. i thk is m, younow, tempt... i feel i'monday ising to what hpened between them which just fe so pure. i think one the qualities of this one is that itas a real art connection and because they were young and unmared, yeah, no, they didn'tget the consummate the affair, which is another tragedy, i guess. >>ose: howdid you go about casting? >> o castg is a reall exciting andcary decisio for the director because youmake it so much in advance of making the movie and you don't know your film so wl then. but in ts case, i was in england andur fainseer' business is there, and theyaid "we like your scrt, now let's make it." i sod, said, oh, okay. well, have to have a keats. can't do ts film without

somedy who has some chasma or some feeli... some young mawho you could believe mht have written these poems. anthey told me about ben shaw who had rently done a stunning "hamlet." perhaps e of the younges hamlets ever and pple still talk about itlmost like that s legend, that the hai came up on tir arms and, you know, when finally did get meet ben, i had a veryisceral action to h. it was like just such a beautiful creatur and, you know, you cross yr fiers and say "oh i hope he does a good audition." >> re: and he did? >> yes, he was beautiful. he really wanted it. >>ose: how, did youequire your actors read keats' poetly. >> yeah, did. i expected ben after i told him he had the role. ben, like me, felt intimidated by poetry and, you know, some of the romantics fm a different era, y need do a little bi of study cause they're not using

ilsions to classal literature,tc., that isn't common for us. but, we set him up with some poetry expert and i asked them to learn some poems he liked best by heart and took through e bigger poems,more complicated ones like "hyperion" but the odes, i think, areoems at are very easy for anyoneo undersnd and "la belle merci" is a beautulimple ballad and ben, i guess, learned le i d about . >> rose: died what age? >> he died atta >> rose: incredible >>es. >> rose: allight, take a look at this. th is when fanny discusses keats with herother. here is it. mr. skets veryrilliant...

mr. keats is very briiant i'm sure he really likesme. even if our cat is hslways petting him to dea. >> mr. keats knows he cannot like you. he has no living an no iome. >> rose: tell me abouter. >> abbie cn serb an ausalian actor who is well known and very mu loved, especially by the unger generation. i think's something in abbie's spirit. she's aeally strong inpendent young woman who... you know, i think s left school at and she sort of took on theorld. and she's. she' got a kind of mystery her. and aetermination to be her own person. wh she read the scrt, she took a ine to it. i rememb her sayin something

like "when i ad it i felt this was a storyhat was breathing, it was alive. and rlly wanted to doit." and i was thinking "you're australian. i should ha an english actress. >> rose:nd? >> but she just didhe... she's so clever, that rl. she just did this brilliant audition a ben's got a perfect voice for keats becae it's not upperlass, it's slightly northern. >> rose: now did you, after readingandrew's book, did you go out and read allf keats' poetly. >> first of all i read the letters. >> rose: that fanny had? >> no, the letts not onlyhe ve letters but there's a collectionf all his letters. and so what happed w that keats'rother george immigrated to america with h wife arou e time th fanny and keats first meand soeats wrote

these really long letters that went on for mths while they were waitingor the ne boat to go. because he's wring to his brotr, they were very expansive. and you really got the feeling of how keat might have aually oken. and he was so funny, he was light, heas gosppy, he was indiant sometimes wrestled th plosophical subjects. and i think is a very different voice than you hr in his poetry. but then out nowhere he would say "ve beenriting this." and t would come a poem. so iwas a very butiful way to sort of experience how the poems just came quite naturally out of hislife. and so read the letters first and then the poems last o all. but i think the poemsre the most long sting. but once again i'm backto the leers. >> rose: and "bright star," though? >> oh, "bright star, i just thought itas a beautiful name for a film and for... well,

obviously... >> rose: and for poem. >>yes aughs) ment and it's e poem that many people believe he wrote for fanny and,ou know, it's about waing a steadfastness of a star wn you're inove, you want something to be complete safe a steadfast but also to be. feel the breath on your cheek and be as close as possible. >> rose: take a look this. this is charles brownnd fan talkingabout keith. >> i'vseen the by. it looks le abigail. they quarantined s ship, he wrote that h made more poems out of december natn two weeks than he had in any eight years of his life.

i should have liked to ha en there. >> you could have had you gone. (baby cries) >> it's not that simple. the baby. and my fus reduced. an then there's this sue of... >> the lack of will. >> shall i say it aloud ll that satisf you shall i say have failed john keats? i failed john keats.

i failed i don't know keats! i failed h! i failed him! i do not know till now how tightly he'd wound hself aroundy heart. >>ose: back to fny. when you loo at all the roines that you have writt abouand direcd, what is it... is there something there that has a common link? >>ou know, i think other people probably comnted on it. >> re: yeah, theyhave. >>hey have more penetration than i have. i'm completely confuse. i just lovehem. theyust... i don't know if it's alter ego stuff or it's prably... (laughs) i don't know. ijust... i love fanny, love in a way.... rose: you love aut fanny what? >> well, i thinko me when i think about those women i think about how disempowered the were

in some ways. you know, like their lives were ju sewing and waiti. it... yeah, i feel tenderness towards them, i suppose. i'm someone who loved collect old sewingr table cloths because i realize these women have put maybe a year' work into it and yet they'll sell for $20 or sometng like that. it's jt sort of conntedness wi making beautiful things that nobody ever sees. >> rose: here isbright star." right star" wha our, steadfasas though art aloft thnight in watching with eternal lids apartikeature's patient, sleless, the moving waters atheir priest like tas while pu ablution roundarth man shores or zing of the so fallen mask o snow upon the mountains d the ors. kn yet still sadfast, still unchgeable, till it upon my

fair lov ripening breast to fe forever its soft fall and swel await forever in a set unrest. stl, still to hear her tender taken eath and so live ever or else swoon to death. congratulations. >> rose: >> thank you very mu. >> ros great to seeou again. >> yes. thank you for having me. >> re: thank you. >> rose: the film huicane katrina has been met wh wide acclaim sie it waseleaseded in late june. scott ofhe "new york times calls it the best non-documeary american feature made yet about the war in iraq. it follows an army unit whe job dett de text and diffe i.e.d.s. here's a look at the film. >> it's nice d hot in here. >> laying on the charge. nice and sweet.

i'moming back. >> 25. >> 25 meters roger that. >> 2:00, dudeas a phone. >> whys eldridge running? come on, guys, talk to me. >> drop thehone! drop your phon >> i can't get a shot! >> rose: joini me now are the fi'sirector catheri bigelow and it screen writer mark boal. i'm plsed to have themere. as many of you know, catherine was here and we had a conversation about this film i wanted to ow more so we've asked her to com back alg with the writer becausee had a lot to do with this. thank u very much for coming back >> tnk you for havin us. >> rose: telle what happened to you in ira >> well, i w there in the end of 2004 and i was embedded wh a u.s. armyomb squad d t idea was twrite piece about

what was thenne of the ont line units in the war and coinues to be one of the front line units because the war has becomelargely a tactical battle of i.e.s, fought th i.e.d.s improvis explosiveevices. and so the mb squ.... >> rose: en today? >>till today. stiltoday. d much more so.. a littl less sin iraq, but much.... >> ros more so in afghanistan. >> in afghanian and in some ys afghanistan in terms ofhe terrain isore naturally suited to that kindof insurgency warfe because the roads in afghistan are largely dt ros. so it's even eier to find them. but anyway, i went there to do a piece that would essentially straigup topical piece o repar j profiling a bomb squad to see whathey didince they had this verymportant job and what was actually one the most dangerous jobs, if nothe most dangerous job in the military at e time because they were going towas what evybody else was walking away from and by definition, an i.e.d. is the beginningof an

ambush in terms of military tacticalefinition. so they're going into wt's already established to be an ambushituation because the insurgents have plted it. they know that either it's going go off and hit its tart or someons going to come a try to diuse it or disarm it. so they know that at a certain point they can rain down sniper fire or call in mortar rounds on that particular locati and there will be someby there. so it was an importa unit and i did the piece and came back... it was a couple of weeks a the end of004n baghdad and i came back and started talngo karyn. >> rose:ho you knew before? who i knewefore. we had colborated together on a t.v. project tha was a classic hollywood sort ofigh expectatns low results ory. >> rose: (laughs) you do high expectaons low results kindf stories? >> that was once inifetime. (laus)

>> our rea exceed our grasp on that one. but we'd had this conversation and began to think ofhe bomb squad maybe an interest point for a war movie. for amovie would be aut that. >> rose: you have said that if you want to do movie about iraq, you have to do it about this. you wouldn't do it about planes. and you wouldn't do it about, yoknow, it was as much where the cutting edge of the war was as the jungle was in etnam. >> yeah, i think so. mean, when ias a kid and tching movies about the vietnam war, you woul s in "platoon" or what havyou the sniper patrols, the guys patrolling jgle. d that's rea play that war on a listical level w like. it was about small groups of infantryattling it out with her infantry groups in th jungle. and this war really about finding i.e.s before they find you. anso it's not a war that's... not to take anything away from

the air force or the navy but it's n a war thas really being foht by the navy or by thair force. it's beingought by guys the ground who essentily dre arnd looking for i.e.d. >> rose: and how many of them are there? >> wel when i was in bagad, the were aut 150. >> rose: 2004here were so. >> in 2004. i don'know how many there are now. they've sie ramped it up. but it's not just... i mean, the enti u.s. infantry prence in baghdad at that time was devot to prolling the ighborhoods. and what that esseially means is you're dving around lking r bombs. and then when you find one, if you're in, say, like some unit in the first cav or something, yocall in the bb squad and they gond deal witht. so it did see like a fairly. it did seem to me to crystal size what the w was like on a veryotes-and-bolts level. >> re: why do you call it "the hurtocker"? >> "the hurt locker. wellthis is a ter that mark hearwhen he was on his eed.

it's actually a slang term that the military used meaning basically describing a painful place, a dangerous ace. if put in the a sentence, "if this bombere to go off,e'd all in the hurt locker." so it's not aplace you want to be. rose: talk aut that notion ofthe50, 25 meters awayrom e target. or yards, which is it, i forgot? meters. >> rose: mets. no, that's sense of kind of charti your progression. it's what the e.o.d.techs tm "the lonely walk." and at about 100 meters out fm the i.e.d... basically, th ound troops have stopped the war f you t go upand alyze this particula suspicus rubble pile. at about 1 meters ou,ou're maybe aware of the heat of the suitthe weight of the suit, the fan either working or malfunctioningn your helmet. and then as you get cser, you begin to think "i'm..these are generalizations but you begin to think about ur family.

>>ose: that's abo 50 or 75 out? >> i've been told it's about 5 or 57rom variou e.o.d. techs. but that's an oortunity to kind of me piece. and this they're doing so, 12, a times a day. make piece with whatever they are then presented with. and then the closer they get, at 25 meters it'apparently i guess referred to as a place... the point ofno return. and at tha point, nothing can help you. no arture,o... i mean, other than your own cunning and skill and ability to mak an absolutely perfect decision der extreme pressure. but you'ren a place that's so approxate.... >> rose:f the bomb goes off there, you're going die. >>xactly. >> rose:t's amazing because we have so much technology d a lot of it is deployed in ghanistan and iraq. and robots andigh end truck and l sorts of uff. but at the e of the day there are still hun beings engaged in this very mhanicalactile

see with the bombs. so even... it's incredible to m at even in 2009 this kind thinis going on. but itthese do withthe complexity of the bombs an the way that they are mad that decides deal with them or t air force. but th's what the movie reay captures. >> you got to know some of thes guys are they by definition differentersonalities? and on the one hand you have a cowb, on the other hand u have someo who's deeply iro speck i have the and self-centered? >> s that the nature of it or e they all of on kind? >> i don't kno 's hard to generalize. i don't thin they're all of one kind. but it is self-selectingroup the sense that you do have to volunteer for that position. and anyone who volunteers for it nois sort of going into a job that you know s a very high mortality rate. >> rose: and what is the skill set involved? >> it's a number of skis. there's a lot of mechanical intelligence involved. the abilitto look at, say, a circuit board and diagnose it very quickly in terms of how it

could be shut down whout adverse consequences. so there aechanical engiering intelligence. and there's aind of biochemical ability to dthat sort of thinkinghile under a lot stress. so it's coo under fire, basically. but it's a hard thingo teach and it's hard thing to develop. it seems almost you either have it or you don't. but ere's lots of people in have the intelligence to do the work because it does require a fairly high intelligence level, but not necessarily the ability to exercise that ielligence en they're gettinghot at. >> rose:nd control your emotions. >> ihink of the like surgeons where they hav an extraordinary motor skill. >> rose: dexterity. >>xtraordinary dextety. there' absolutely no margin for error. in other words if a suron is wki on a patient, they make a mistake, e patient dies. in this ca, if the surgeon makes a mistake,e dies. >> rose: te a look at ts. this is where staff sergeant will james played by jafrmy

nner and specialist onhe eldridge look rough a box of things including... you'll see. take a look. >> what doe have here? >> they're, you know, bomb parts signatures. i see that. but what e they doing under your bed? >> well, there's one. this one is from the u.n. building, flaming car, dead man switch, om. this guy was good, i le him. and this one? >> ts one, all, is from our fit call together. th box is full of stuff tt almost killed me. and what about this one? wh's this one from, will? >> it's myeading ring. like i sd, stuff tha almost kied me. (laughter) >> rose:ell me aboutyour actors. >> well, i think they're the next wave. i ink they're pretty

traordinary. sergeant jes, played by jeremy renner, is... well, all threef themre really astounding talents. he's somebody th has an ability to cony a truth and host they i thinkis really... probab singular for his generation. just really an eraordinary.... >>ose: for his generation? >> i think he's really amazing. i think actlly all three of them ian say the same tng. and anthony mackieas a charisma and a kind of bravado and a presence that is really pretty diinct and sets him apart. anthen brian garrety h both his vulnerability and his kind of..i don't know, there's a kind of fierceness to that... in that kind of paradox of his vulnerability at theame time is really astounding. >> rose: this is one re, nner attempts to remove the explosivestrapped to a man but realizes he ll not have enough time. here it is. >> iot the suit, just go.

sanbor you have 45 seconds. you have5 seconds, sanborn. damn, man, go! go! >> everybody g back! >> go! go! go! (screaming) >> take cover! >>o! get back! st get back! >> thers too many locks. there's too many... ian't do it. i can't get itff. i'm sorry, okay. you undersnd? i'm sorry. yohear me? i'm sorry. i'm sorry! get down, now! get down! go! >> rose:ell me about the scene. >> wl, this was actually one of the more diicult ones to shoot emotionally for both cast and crew. remember at thend of th day when i say "wra and everybo usually grabs the equipmentnd hurries ofto their various homes or places that they live

and nobody moved and people hears inheir eyes. i thk just somehowboth... i don'know, perha the ality of it or the imagined ality of it. i think performans were really pretty extraordinary. but i think t writing because extremely emotionally.... >> rose:aut. >> taut, exactly. >> rose: (laughs) >> and it affted all of us. >> soheil, t gentleman w plays theeluctant suicide bomb, i think he uncorke this performae. and it was like... you could tell with jeremy.... >> rose: he was eat. >> he kind ofgot this momt whe jeremy wasike, gee,e really w sorry about it all. and therwas no take two. there waso... it was ke that was it. itas one of thosene takes. >> ros you were said to direct what w a lig hand. i ner quite know what that means her than saying to the acto "you know what you're supposed to do do it." (laughs) or saying, you know...

>> if you've st the movie right.... rose: exactly. >> i think there's, in a way... not that y've completel done your job as a dirtor because you ill have to block, choreogrh and make sure cameras are in theight posion, make sure the editors have exactly what they need to work with. but i thin if you've cast it correctly and you've go the right act playing the ght part, y're... you know, it' like... i don't knowyou're in a very priviged position, let's t it that way. >> rose: what ist about kathryn bigew? >> (lahs) >> rose: that makes her like making these kinds of movs? >> kathn? >> rose: you know h, you wk th her, you're her colleague. >> wl, i tnk... that's a good question. i think when youay "these kinds of movies," i think you're

probly talking about sortf action, excing.... >> rose:ot that a woman ouldn't make them, but i'm asking about this parcular woma >> right. well, i mn, in some sense i think if you're in the buness hollywood, it alws helps to fish wherehe fish ar in other words, put your r in wherthe fish are. and that'.. big action movies are kindof the... tt's sort of the "a" tiet, or the big leagues ofhe business. so think part of it is a structural thing but i think it's also that she's fundamenlly coming from the art world and coming fr viewing... it's a little bit of a complicated explanation. t coming from viewing movies as a mium. and when y're tking about a moving ima and what's the most werful way to push the medium of film as a serie of raply moving pictures, basilly, action film makin, ihink, ovides you with the most potential to push the medium. as opposed to, say, a story whe it's largely and you

sittg at a table and talking. which could still be very dramatic and s matally powerful and everythin but inerms of pushin the capality of the medium, y looko action if you we kind of coming from that artist persctive. >> rose: >> it could be very draw mat if can a car fell through e caeling and landed on the table. aughter) >>ose: burned up or something like that. and you rescued me. (laughs) here's what else you said. "bng female is an asset in so ways because she doesn't have a dog in t fight interms of masculiny." >> i think thas part of it as well. i think it's also that, you know 's... being able to step back and say "let' look at males that are in thisind of intens supermacho envonment in a nuanced way, in a the is humanistic but also ironi

think that's somhing that maybe, again, n having a dog in the fight.... >> rose: the "washinon post" sums up the intriguing opposition. "she is slim,'m pr y'allly slim, sheas big ey and big hair and t sort of man who lookgood in restaurants or on the cover of magazines how would she know so much about him?" meaning the character in your movie. >> um, well, that's very flatteri. >> rose: you d not do a good joexplaining this bere, that's why i'm coming bac to it. >> well.... >> re: talk about yrself and at it is it that makeou go and why are allhese peop intrigued may be sthen just said and this enoously finely tuned skill to make ts kind of vie that almost evybody that is raving about. >> i... wl, thank you. ... i am attractedto film making that hashe capity to

be expeeryen shl. in other wor, my interest is to be able to take you and put you in this case in the soldier's shoes, makyou feel like you're literally there, you're walki on that baghdad street. yore walking toward that i.e.d. you've got heat an sun andand in your face. and just... i don't know, bring those momentso life in a they physiological, that's almostre-conscious. so it's... you know the, it's a completely expeer yen shl lk at any particular environmen now to do th you haveo kind of choreograph cameras a ctain way, u also have to choose material tt can give you that kind of... i don't know, that ki of... not just kinetics bu thatind of emotial availality that can put yo in the pern's shoes. so in other words aracters that a wellrafted, highly anced. so is rlly an interest in not just musculafilm making, that'serhaps too simpstic

>> rose: why have y made only three himself in aecade? >> well, they take time. thise started in 2005. "the hurt lock" we began at that time. he just came back havingbeen in iraq t end of 2004. and it took about a year to wre, about a year to raise the money. another si seven, eigh months to cast. five months to shoot. six months to cut. so, youknow, it kindof begins and then you mix and... i mean, they take time. well, especially y you do them. i think that'spart of it as well that willany directors u give them a ript, ey'll go shoot it. you like to develop merial from scratch thatdds a lot of time on the... on one end. >>ose: i shootast, thoh. (lghs) >> rose: you also le final cut and yoalso raise yourwn ney and gn to sdio and say "here's my film, youant to

distbute it orot." correct? >> rig. we were very fortunate tha th was a piece thatwe wanted to have... the two of us wanted to haveomplete creative control. it's a moviehat i don't think cod have succeeded withuch inrference. it had tobe shot in thmiddle easto i think that aloneas ki of a non-starter if w had go the more conntional route financially speaking. at gave us parameter wes uldn't deviaterom. >>ose: it's grea to see y d meet you. >> thank you for havg me. >> rose: thank you f joining us. see u next time. captioning sponsed by rose cmunications

captioned by media access group at bh access.wgborg