in this sense of doing this. >> because i was brought up in such a chalnging suation i think it required the to live a

more examined life if i were to get out. i had to dream bibig. there was no room for failure. >> charlie: time magazine's person of the year, the protestor.

captioning sponsored by rose communications from our studios in new york ty, this is charlie rose. >> charlie: time magazine has just named the protestor as the person of year. from the middle east to europe 2011 saw a global wave of

dissent and in tunisia a fruit vendor set himself on fire and time rulers were on the edge or gone and as time magazine notes in 2011 protestor protestors di voice but changed the world and joining me now rick stengel, managing editor of time magazine and author of this week's cover story which i show you again. first of all, congratulations. this is a wise, wise choice and secondly a smart choice. mr. andern my friend, to write it. >> i'll take crit for that. >> >> and you two guys went on a trip together to egypt to tunisia. >> yep, and it was really extraordinary and very moving and very helpful to the story. in fact to me the most moving part of it was going to this little city in tunisia where the

man set himself on fire and it the definition of the middle of nowhere d the idea that some world historical change can start in this desolate place where -- >> charlie: what happened to him? >> he was a fruit seller, fruit vendor and had been harrassed by the authorities over the years and one day a policewoman in this case confiscated his cart i guess and slapped him across the face which publicly humiliated him and an hour later he poured gasoline on himself and set himself on fire and triggered this massive global world historical change but it happened in this place where you can't imagine anything like that beginning and in fact i -- it would be interesting to trace how it happened because this is not a place where people are on twitter or facebook or are

cameras and it set a match to the discontent and frustrati that built up in this place that got people to start risking their livelihood and lives to go out and protest. >> it was interestin to talk to people there. i went having what i read and thinking it' been overstated by we americans with the twitter but in fact the day the same day that he set himself on fire there were protests that day. one of his cousins with his cell phone took a video of the protest and put it online, al jazeera which was incredibly important to all the revolutions, the new media in arabic found it and put it on television so even at thi stage in the middle of nowhere town the new media was such that it didn't just stay in this little provencial part of tunisia.

it was immedtely rippling out to the wider world. >> charlie: what was it about the single act of bravery that connected to people. it was about dignity >> this hard-working kid, a 26-year-old man who everybody in town lov and played by the rules and was supporting his sister going to a university and doing right and was treated callously by this -- >> charlie: the state. >> the state. the pseudodemocratic state and couldn't take it any more and suddenly all these young arabs of middle-cla, working-class backgrounds said yeah, that's us. >> charlie: at least we can go into the streets. >> and in this policestate that had in fact enyed some economic prosperity in the last decade but that didn't trickle down to those people. >> charlie: and the point you make, both of you in the

magazine is it is this there people who are protesting and people protesting and by doing so are putting their entire life at risk. >> that's true in places like tunisia and egypt and libya, syria, this is not risking getting pepper spray order tear gassed only but risking livelihood and live and death. >> there's a difference of what happens in the west and the east and we'll get to that but everybody is taking risks and the folks there are risking their lives to have governments like we have here which the people here are protest whh is is one of the ironies of this t also one of the this that connects them both. >> charlie: when someone suggests oyou thought of this as the ultimate choice say like kurt said, did it overwhelm you where you cannot think of

anything else. >> we start thinking about this halfway through the year and at the halfway point of the year we were talking about the arab spring and how revolutionary that was and how world historical that was buts it became contagious as this idea spread to europe and elsewhere in the middle east it seemed to me a much larger phenomenon of people fed up and frustrad b also people who want more democracy in the arab world they want democracy, here they want democracy to be more receptive and responsive. >> charlie: and fairness. >> and fairness. and connect the dots to all these things what would make the story special and i think spin it out to next year because it will be potentially be the largest story of 22012 >> charlie: the iranian

revolution how does it fit in? >> here, again, in many cases a regime of pseudodemocratic regime having an election and say i don't like the way that's going, let's rig it and people arise risking their lives and going out in the streets and it's suppressed. it happened in 2009 a year before the first dominos in this arab spring began to fall and you would thinkpeople would think police states win but it was be an opening out of town not working but in the arab world it worked. >> charlie: and i want to come to are russia in a moment and the people who started occupy wall street were looking at the arab spring and say why can't we do something. >> and as kurt points out in the piece everybody looked to

tunisia they did it the right way and talked about the techniques they used and to use the old-fashned metaphor it was a virus that spread one place to another vi via social media and iran was when twitter became this tool of change. i know my own experience of looking at, wow, wch is what twitr can do in real-time. if that existed any time. history it would have been amazing but all the protest wasn't a lineal descendant but showed the power of social media. >> charlie: in the trip you tal was was there anying u saw in terms of th the nature of th story? >> to meet and take time with a

whole bunch of people across the islamic spectrum. muslim brotherod the more fundamentalist types. >> charlie: who got 25% of vote. >> you begin to see there are many grays across the spectrum and suddenly fearing an islamic takeover which all the secularists over there do, still it's not easy to say they're bad. they're good and so putting flesh on the stick figures one gets from reading 5,000, 10,000 miles away is getting a sense of nuance o what means. >> charlie: and the most hopeful seculars said to us that's what they think. it's happed with the islamic

brotherhood and they think it will keep happening not just as power but being part of the democratic process i which you're can winning sometimes. charlie: in your travel was there any idea this wa the dark de and their spring will turn into the arab winter. >> absolutely. the people on the left worried about that but the islamist that was the most fascinating part of the trip and either they have the greatest pr guy in history or really believe it and i don't want to be naive. the only remedy for too little democracy is more democracy. they saw it as a tool for them and something that will moderate them and the thing that we have to reckon with like we had to reckon with what happened in gaza their democracy happens and then the result is not something

we necessarily approve of. i do think again the process changes them and in tunisia for example and the islamic party did well and we said are you going to ban western women from aring bikinis on the beach and they said that would be a silly thing to do. that would interrupt tourism and change the goose that helps us. if they're telling the truth, which again some people are skeptical about, they actually are very pragmatic. that's optimistic. >> and the liberals, the secular people in the middle east in north africa are convinced that simply the people coming together and protesting and putting their lives on the line for days and weeks and succeeding has changedheir mentality. they understand this is not a permanent given that some white or black knight from the west

has to come solve for us. that's what they think will save them from entering some new impression. >> charlie: talk about this for a moment and it's clearly true and the idea that some how fear -- they had lost fear. they had gotten beyond fear. that's what had to happen to kind of courage they do to get fear. >> we talked about this at the time, in my experience with folks like that in a weird way is in south africa with people in the anc imprisoned and who we spoke with in tunisia spent time in prison and theye hardened, serious guys the ideato g and protest for a middle class protestor is different fo a guy that spent 17 years in prison. >> charlie: and the revolution was not led by the muslim

brotherhood, it was in fact -- go ahead. >> they capitalized on it. >> charlie: but it's different than being the first in the breach. >> and the source of people because they were well-to-do, middle-class educated no one thought these yupys will stay. >> i wouldn't blame them of doing something untorrid by jumping on the band wagon. >> charlie: they did not rush in believing in the muslim brotherhood stand back in the beginning. >> what we heard from the folks was we never thought those people would have the courage or the persistence or the bravery to sck it out. saying that about the in the scar square. they were inspired by that. >> you list other people you met

in your journey, who are they? >> this fellow, sam, has a cameo in the piece. he ran for one of those congressional positions in egypt and lost and he could be sitting at this table and he's eloquent and a democrat. >> he's funny and colluial and you are surprised how many in the squa are western-educated. the role of the united states in the west is interesting. it's in that soft power, as it's called educating the people and providing technology like facebook. >> charlie: where is egypt today in >> in the midst of this long bisentrine election with the main street party and the more conservative fundamentalists are

doing well. >> charlie: and a degree of harassment of cro coptic christians. >> we talk to a general close to in the hunta running egypt and he sd convincingly the military doesn't want to run the show they just don't know how and when it best to give it back to the people who have never ran a country. >> charlie: are they prepared though it may be to the destruction of not a form -- not to another mubaric was. >> i think there are divisions within the military itself we dot know about and the other thing the constitutional process and they said civilian power will not trump us. then a couple weeks later the

second round of demonstrations which began when we were there said well, okay, we'll make sure it's civilians rule. they are moderating their position. >> charlie: and tunisia had an election and moderates won. >> they said we're doing it so much better than we are. >> charlie: libya, where are we in libya? >> it's wide open and a went with secretary clinton and i am actually optimistic about libya because it's small and have a lot of money but have no institutns whatsoever tunisia looks like france compared to libya. >> charlie: a tribal culture. >> and have yo the fighters from benghazi and they're saying go home. i don't know what's going happen. >> charlie: but real competition

among competing parties on the same page about over throwing khadafi. >> one of the common threads is that everybody knew what they were against. that was clear particularly where the autocracy was against the leaders and no one knew what it was for with the exception of the muslim brotherhood. >> crlie: syria how long can asad stay in power? >> we talked to the syrian immigire be in power? >> charlie: somebody came in. >> it won't happen here. >> charlie: does that lead to the conclusion he'll be able to tough it out as long as there's intervention from outside. >> in syria what the arab league

has done in getting in strong on sanctions and making him syria a p pariah it wouldn't have happened. >> charlie: bahrain remains to be seen. >> there's a change in the arab world and some places want to hang on and where the government is powerful and control over the people. i do think syria is the place where 're witnessing day in and day out the most incredible bravery of the people protesting whe every one of them is risking his or her life. >> charlie: what are the implications of the occupy movement and implications of 2012. >> kurt talks about in the story

and they went into hibernation and we talked to some including kurt's nephew who made the story which i didn't know. >> he occupied my house before sleeping in the park. >> charlie: come home for a shower and go back. >> three weeks. >> they're obviously thinking how can we insinuate ourselves in the process in 2012 where politics will be in the center of everything that happens and if you go back to '68 one of the things people don't remember was protestors were at the democratic convention not republican convention and i think they're looking at '68 as a them plate. >> mayor daly and rubicof.

>> what's the future in russia for the conflict we now see not on the protest that took place and people fearing what putin with do and now people announcing they want to run against him. >> it'steresting, isn't it, that's russia in degree in freedom and democracy is halfway between the arab countries and the western untries of the united states. it's freer than one and not as free as th other it's an interesting finale to have incredible protests. larger than any fall of the communist. >

>> charlie: viola dis is here and won an academy award nomination for her role in "doubt." here's a look at some of her work. >> i'm a good person. i'm a good man. >> you don't understand. >> she's a copy. a facsimile and you're fall for it all over again. you're sick.

>> you should have married the hippy with the great aspect and soul. >> my boy came to your school because they were going to kill him in a public school. his father don't like him. he comes to your school, kids don't like him. one man is good tohim, this priest. does a man have his reasons, yes. everybody does. you have your reasons but do i ask thewhy he's good to my son? no. >> i was locked up i had a roomate like you and she told me all about it. i don't judge. let me see, i have been border line polar, depressive, angela

davis, angry black woman syndrome, i heard it all, baby i gave up on the white floor, bright line scene. i feel better here. >> charlie: it's a best-selling novel about black maids in mississippi in the 1960s and here's the trailer for the film. >> we never thought you'd leave ole miss. >> it took four years. >> i was writing for the jackson journal. >> you can write my obituary. dead, her daughter still single. >> i reckon when you finish you won't. >> thank you. >> move like a winning horse at the kentucky derby. >> i drafted the home health sanitation initiative that required every home to have a separate bathroom for thhelp.

>> why not use your bathroom outside. >> minnie? >> hey. >> hey, minnie. >> these women raise white children. we love them and they love us but they can't even use the toilets in our houses. >> minnie, are you in there? >> you are fired! >> you said write about what disturbs me, i'd like to write something from the point of view of the help. >> no maid is ever going to tell you the truth that's a hell of a risk to take in jackson, mississippi. >> courage isn't just about being brave but overcoming fear and daring to do what is right. >> what changed your mind? >> god. >> i'm going to help with your stories. >> we all are. >> y'all brought me into this but i'm going finish it.

>> are you lost your mind? >> no, ma'am, but you about to. >> it's quite scandalous. sounds like jackson if you ask me. >> you tell her i have plans for her. >> youe aodless woman. >>e gone done it now. [laughter] >> charlie: tell me about the character here? >> abilene clark is a made in 1962, mississippi. when you're troduced to her in the story she has lost her son, 24 years old. shlost him in industrial accident and basically ad inside. she's decided to stop working. she's depressed and decides to

go back and work for a young girl, well, elizabeth and she raises her daughter and through the course of the sto she's introduced to this idea to write this book about how it feels to be a black domestic work inning mississippi for white women. >> charlie: through a series of conversations and stories? >> interviews with skeeter the writer and through the course of writing the book i think she finds a purpose, you know, which has been absent in her life after she lost her son. so it goes. >> charlie: you read the book and wanted to make a movie. >> i did. i was very ambitious i said i want to option it and produce it and be the star of it and provide work for women of color. >> charlie: you could do that? >> in hindsight it was ambitious

to see what it has turne into, yeah, it seemed overly ambitious because i was just driven by desire and need. >> charlie: what kind of desire and what kind of need? just black women are part of the narrative i just felt like it was a voice that needed to be heard and i felt like i was the one that was going to do it and it should be placed in my hands and knowing there's suspect a vast deficit of roles for african-american women i thought okay, thiss it i can't believe this was placed end my hands. of course, then i found out tate taylor had the rights. >> charlie: so t dream was there to do things like this for you. >> absolutely. >> charlie: and it centers on telling the narrative of black women.

>> absolutely. telling it in a way that' complicated and didacti and telling it in a way that's very humanized. once again i'm a trained actor so i'm trained to create human beings. that's the mark of a great performance, the great uda hoggin drama teacher to transform into a charaer that has a realized life. a full life, vulnerability, humor, sexualitynd for that character to go on a journey a it's very rare that i'm able to do that. i have the need to do that but i have to always try to do it in the context of a character that has two or three scenes in a movie or less but this is a chance for many african-american actresses to be able to play fully realized human beings so

therefore i wanted the rights to this book and i wanted i felt it should be plad in my hands because i felt i was the responsible one to do it. >> charlie: have you to believe you can go in front of a camera or gone on stage and inhabit as a character as good as anybody on the planet. >> absolutely. >> charlie: you know you can do that? >> i know that i can do that. >> charlie: you have done that? >> yes, i have. thank god i have. i feel very blessed i've bn able to do that. i relied very heavily on my training and relied very much on my observations in life of the people that have stepped into my life. but i haven't always had the opportunity to do that. sometimes i have the fried chicken dinner that i'm sinking my teeth into as if it's the

fill fillet mignon and i would love for it to be on the page and for me not to infuse it with humanity that may not have a chance to develop in the course of a story it that makes sense. this was the chance to do that. if you read the book the voices of these women are very realized to me. i knew these women. i knew abilene and minnie and rarely does that happen. i always say there are certain adjectives they say for black women, dignified, soulful, sassy, wise. >> charlie: why do they choose those adjectives? >> i don't know, that's probably a better question for them but i just felt a -- i feel a general

sense that people -- that there's a fear and not necessarily from a caucasian people but this is a three-hour conversation but that there is only certain things that we can be that there is not complexity to us and i think that's probably why even kathleen stockett wrote the book finding out of what her goal was 9-11 her made dimitri. she hadn't been in contact with her for years and this book was a way of discovering her and a find that's a great metaphor for when i see people of color on screen. there's a sense that you never

get to know them beyond the surface and for me, once again, this was a what's to do that when i saw the book and wanted to option it and wanted to be the producer a executive producer. >> charlie: is there anybody at knowsou doubt you will do this? i emasize knows you. >> i think people have faith i will do it. i think the faith is based on fact that maybe i'm now thrust in the public eye. there's very few women of color 40s over and under thrust in the public eye in this position so when you're the only, the a lot of hope and faith gets placed on your back and responsibility even if you're note embracing that. so i think because there is such a need i think that people

probably put that on me. even if they don't feel that i have the ability. but i do believe that i have the ability. i do believe they think that. >> charlie: all they have to do is look on the screen and they can see at. when you were talking to the director, tate taylor who knew katherine, you gave notes. what you thought the eric out to be. rrect? >> absolutely. >> charlie: were they accepted. >> yes. >> charlie: and beneficial to what you wanted to do. >> yes. >> charlie: do you do that to every director. >> fear of the backlash of what this story could mean to the african-american community. we're made in 1962, mississippi

who are uneducated with thick dialects and images that we keep revisiting. i get that, i absolutely do which is what prompted me to have the rewrites because if you read the book and read the dialect of abilene she's not a colorful character. >> charlie: then what? >> very simple and quiet and 95% of her life happens in earn it will adialog with herself and her observations and it's through that internal dialog thatou get they'll parts of her that are more flamboyant and different. they're intelligent, funny, very

insightful but i knew byhe time it made it to the screen, most would be cut how much can you put in dialog with so many characters whose story needs to be told and therefore a lot has to be cut. so if it's cut, what's left? what's left is someone who has en seen or to the naked eye is the story of a black woman, uneducated, wise, griefing, taking care of a live white girl for the african-american community it's a road that's been traveled again and again and there's a desperate need to see different imagines because of course we are different in our life. i think i've said before i'm

quirky -- >> charlie: you have said that before. >> all those things. >> charlie: you also hav an amazing capacity for self examination. is that one of the skills that you learned or is that just who you arare? power of a rigorous self-examination. >> i think because i was born in poverty in a singleton plantation in south carolina. my grandmother gave my mom -- my mom gave birth to me but my grandmother was there and delivered me. because i was brought up in such challenging situation i think it required me to live a more examined life if i were to get out.

i had to dream big. there was no room for failure. so therefore i couldn't go the normal route. so i found myself at a very young age living that sort of life because i didn't want to be like my my ancestors and everyone else who was like me. everyone was either alcoholics or lived in poverty, they accepted their lot in life and i st felt like i didn't want to live that way and anybody who wants to stray from the pack i think has to lead a more amined life. but at the same time if you're an actor have you to observe. >> charlie: your mother was a maid. >> my mom was a mai and so was my grandmother. >> charlie: your ther's alive? >> she is alive. >> charlie: she's seen the movie? >> she has not.

>> charlie: why not? >> i think it's because she's going through hip replacement. i don't think she's any more than that but my grandmother w a maid her entire life she spe as a maid in southarolina with 18 children. she's deceased. u know, i value those opinions because i'm a keen server of life and i serve on a different level i believe than problem most people. once again it's like my background when you're brought up in poverty, nobody has filters. everybody knew who was the drug addict, who was beating their wife. everybody lived in tennement houses so the walls were thin. it was a ripe ground for observation as an artist so i know the truth. like the antwaun fisher scene.

i know not every crackcracaddic mother who lose theirs child and the child gets placed in social services is a monster. i think sometimes we make judgments on characters because we've not observed them. they're not humanized to us and not palpable human beings and cause i know those people i know it's much dper than that. it's through those observations and experiences what i bring to my character. >> charlie: what happened when you moved from south carolina to rhode island. >> i moved in 1965 to central falls, rhode island. we were the only black family in central falls so you can imine what happened. a lot of teasing and were ostracized and lived on the

periphery but aga like life, it wasn't black and white and there were joys. joys associated with childhood and at the same kind the desperate need to want to be accepted. >> charlie: you said to yourself you wanted to be good and get to juliard and the best access you can get and willing to take any role. >> it happened because i saw sicily tieson when i was ten years old and before that it was sanford and son, mama i'm back, the jefferson, those where the shows you watched growing up and you loved them but youere so desperate for any agine that looked like you and tu suddenly what emerged was sicily tyson and i knew i wanted to do that. there was something about it for me that required a skill there

was something about it to me that required excellence. she aged from 18 to 105 and i didn't even know it was the same human being. i think that's what a lot of actors feel watching meryl streep. therefore, that's what a wanted to do i wanted to do that. i just felt like what could stop me? >> charlie: nothing. nothing but yourself. >> absolutely. >> charlie: you were never going to let somebody else stop you. >> no i wasn't. >> charlie: so what did you learn about acting that has made you as good as you ar> thatñr acting is very much f me like life. i think that you are always on e path inçóñc>

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always butñr it's a parental figure whohowed them how toñi master a skill andq terms ofñoóo?oñiñd+uóábsr mast acting and taut them how to failñsrñhñrñrçó andñi sucedçs mñ them.ñiñis%?]i9kc&yñy-e/xóñiñ= >> charlie: it's clearly acquisition of skills. new to have learned somethingñi to make your way.hhsi" you have to -- greatñrñ'cím?jk great parents, greatñr ñimentor great coaches and greatçó frien can give you the >> absolutely. that's what we feed on. we feedq imagine of sicilyzv//q>z7 fact she looked like me and implanted somethingñjrnjéjx

was soñi palpable and that was e first step. you know, i have toñiñr>z#t reat that means -- what that meant to me at the age of sevenñhrfj 128 washington street.y)átú because here's thexzí ydñithingk of times youçóça >> charlie: ñiñrçóñ'm >> you have to be able to put your handsñ almost impossible. that's what i ñ it's likekoç> charlie: and your dreamxd wa

to be ñhhrñiñrñ9iwhat?[9b'hed was to makeñp forñs i was.ñ that'sfá everything. that's why i teaseñrç?vççó kid playñiw3s to añrç my shoes offtp always had holes in tm and run in the dead of winter and challenge them tov/áímñiñ somebody. everyone does. don'ñiwe? we all want to be someone >> charlie: it'sñá]s /w+çóñ >> it's great to be here. >> charlie: viola davis, th captioning sponsored by rose communications captioned by media access group at wgbh

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