founder and c.e.o. of loopt. >> for me, i long that i need to be on my own and i need to be one on one. i cannot function very well if there are other people around. and all these people are absolutely necessary to me, also. i mean, they are crucial. snek be my assistants, they are like working like the hair and makeup people, my t stylists. all of them have a very important part to play, but they play their part and then it's my moment to be one on one. and to me it's crucial to be one

on one >> i think that location is going to be a huge part of the future of mobile advertising. if you think about all of the different things that advertisers use to target users, the biggest missing one has been location. and in some instances that's most important one because what we find is that users are very much more likely to act on an ad for something near them because it's relevant, it's right now, it's actionable. >> rose: brigitte lacombe and sam altman next.

captioning sponsored by rose communications from our studios in new york city, this is charlie rose. snooup brilgt lacombe is here. she is one of the most respected photographers working today. early her life she left school to work at "elle" magazine's photography laboratory in paris. a chance meeting with dustin offman at the cannes film festival in 1975 led to his behind the scenes work on his film "all the president's men." many films followed including "close encounters of the third kind" and "the english patient." in her 30-year career, she has photographed everyone from henry kiss sdwror natalie partman to the dalai lama. this diversity in subject is to capture the essence of her subject. here's a look and listen to four of her friends who've also been

the subject over the years. >> this is a very unusual photograph for me to take because i am looking in the camera. i really do hate having a still picture taken but i love digit and that is a... this picture is a reflection of our friendship. in august of 2001 we did a production of "the seagull in central park." it was a deliriously happy summer, clearly reflected in this picture. it was the last innocent summer because the a month later was september of 2001. so for me it captures an innocent this is sopd so wonder to feel see william sty ron, my old friend, his protective arm over me. she's really interested in the

interior of the person. she's photographing. >> i've known brigitte for nearly 30 years. so much of her stuff she captured a moment but that somehow is a distillation of an essence of either a character that an actor is playing or of the person. this was in the cab after three hours in the theater. cyrano in a cab and brigitte as usual snapping away. so for me it's a very personal picture which evokes a period in my life when i didn't want to entertain people backstage. when i will be through the book, i just see that cliche of having captured something essential, which is what makes it art as opposed to just another snapshot of somebody. >> it's very interesting the way she uses the camera as an instrument for life and for

having a relationship with people and an instrument through which you see the world. when she took picture of me in the swoopling pool with jewels, it was a joke. i would have never thought about this picture as being published, but when we did it, it was just a moment of fun for us. a moment when you get more involved and you realize that at this moment you are doing a really serious picture. and also she has an incredible ability to know when it's the right moment. and that's why i think so many difficult people let her take pictures of themselves. >> when you're in the room with brigitte, you always find her in a place that you least expect her. she doesn't go to the obvious place. she doesn't go to the access of the way the audience would be. she's always on a weird little angle. but you have to look for her because she's invisible. she's just... like all the best photographers, they make it very easy and they capture what they want very quickly. >> she's kind of a director

herself, okay which you willly, how she manages to get people to perform for the camera. it's amazing. i'm assuming that's her halfway through the makeup process, the aging process she went through and there's something sort of heavy lidded about her eyes and just the far-away stare that i remember from when i watched her in the movie. but when i look at this photograph, all i so is someone who's very good at posing for photographs and someone who isn't. (laughs) somebody looking like "is this okay? is this how you want me?" i feel a little bit of a get here but i no kate knows what she's doing so i'm just going to stand here. >> rose: her new book, "lacombe anima/persona" gathers 192 images spanning her career. she says these collects moments are my life, i'm pleased to have brigitte lacombe at this table for the first time. so great to see you. now let me just talk a little bit about this. this is going to be easy. we're just going to look at your work. a span of your lifetime. first of all, the book is

dedicated simply to your friends. >> yes. >> rose: why that dedication? because these people are your friends? >> no, no, no. not all. (laughs) not all of them. but a few of them. a few of them. and that's a... i have two things, i have my work and my friends, really. and sometimes they actually are the same thing. >> rose: this introduction is written by frank rich who says "there is art and there is show biz and a young century overdosing on celebrity exploitation masquerading as photojournalism. it's essential to keep the boundaries distinct. that's the key to appreciating photographer brigitte lacombe whose work takes her into the realm of show business but whose pictures strip the commerce away from the artist until we are face to face with some of the seminal figures of our time and what they are trying to say to their audience." so you tell me, what is it you think you're doing and how is it you think you do it? >> well, i'm really just

following... and i think the beginning, it's just all... i'm very instinctive and i'm very ambitious at the same time to do what i want to do, to meet the people i want to meet and i never feel shy about asking people to do their part rit and to pursue them if necessary. you know, and i'm not exactly sure what i'm doing. i think i'm 100% focused on the person i am with. and i keep it in one on one. the one on one situation. there's a lot... i mean, there's a lot of work going on before meeting the person with me and with my assistants. but actually when it's the moment of the meeting in the photograph and it's just seems effortless and it's... just one

on one. a little bit of with them is what you do. >> rose: but are you going in looking for something? or does something exhibit itself to you and then you know that's it? >> it's a little butt of both, really. i'm always... it seems like i'm always looking for the same thing because i create the same situation every time which i'm... a lot of people think it's actually boring, you know, because it's very peared down, very... no production values. >> rose: you have no stylist hoefring over you to set the scene. >> if there is because i'm on an assignment to do something, there's always the moment that i will take that away. that it is the stylist, the accessories, makeup and the hair, i will try to take it all away in order to stay just with the simplest essence, the purist part of the person, the simplist part. i don't know how to... is it good enough?

>> rose: yes. >> (laughs) >> rose: (laughs) >> and then i react only... once i'm at that stage i react only with the emotion and the instinct. i don't know what i'm looking for. i'm looking for a moment that rings true to me. >> rose: now, thinking of the photographs we've seen already-- and we're going to see lots of photographs-- when you took them did you know you had them? or do you have to really look and sometimes it's not there and sometimes it is there. >> yes. when it's there, you usually know it. you know that the moment is there and.... >> rose: you know what your camera can do. >> yes. and also you recognize something. i mean, it's really just like... it's very instinctive because there is not a right moment or a wrong moment. i just recognize a moment i love. and that's that, really. >> rose: this there's this about you an frank rich writes about you. he says "i'm struck by three

distinct biographical influences in other art. the first, of course, is her youth in france." tell me how that influenced your art. your father? >> yes. my father was extremely important because he wanted to be a photographer, was not permitted by the circumstance. i mean, he was... it was right after the war in france and in france it was not secure job. so he didn't become a photographer. but always took photographs and i'm sure it was a huge influence on me. and then i was a very bad student and was fired every year from every school, really like five years in a row. so finally.... >> rose: you gave up. >> i gave up. >> rose: and you went to work for "elle" at 17. >> at 17. and my father luckily knew the lab director of "elle" magazine, which was really the best magazine at the time and just put me in his hands.

and they gaye me a little lab coat and i was, like, the only girl. of course i was 17. only men and they took me as their little mascot and i was there for a year. >> rose: then you went to kuan. >> then i was dispatched...? newspaper in '75. >> the next major moment for me was that i was asked... i mean, i'm sure i dodd go and then i was sent to kauns film festival. cannes film festival. and also i had my family there. >> rose: that just happens to be in this book. (laughs) a mind and a passion and the a will at work. >> yes, absolutely, absolutely. >> rose: so you end up in cannes. >> i end up in cannes with only... the only idea was to take as many pictures as i could. but at the time, you have to think, it was so different. i was just there and i was approaching everyone and i...

and one of the persons i met was dustin hoffman and dustin was there for "lenny." >> rose: the story of lenny bruce. >> yes. and i was, i'm sure, the only woman photographer there. because at the time there was no woman photographer, either. very few. and i was young and charming, you know. and so i think.... >> rose: you haven't lost it. >> dustin pulled me out more or less of the photographers and when i did my portrait, after i did that, he said "why don't you come on my next movie? i'm going to be doing all the president's men." and that was... i went back to the magazine and i told them and they sent me to washington. so that was my first movie in america which immediately put me.... >> rose: but you have stayed with that. you are connected to films in a major way. >> yes. >> rose: i want us to go behind

the scenes into the head and the heart and the passion of the photographer. >> yes. >> rose: you. >> well, i mean, for me i learned, for example, that i need to be on my own and i need to be one on one when i do a portrait. i cannot function very well if there are other people around. and all these people are absolutely necessary to me also. i mean, they are crucial. they can be my assistant, they are, like, working like the hair and makeup people, the stylists, all of them have a very important part to play. but they play their part and then it's my moment to be one on one. and to me it's crucial to be one on one because it's... it's.... >> rose: a hallmark of what you do is intimacy. >> yes. >> rose: and that's the only way you can create that as we here. >> yes. exactly. for me, that's the only way. maybe there is another way but i have not found it yet is to be just one on one. i see it like a little marked

space where you are, like, enclosed. i try work as much as i can with daylight and that's it. and it's intimidating to the person i photograph and it's intimidating to me, too. i never that i can actually do it. i mean, some people actually resist that, as you know. they will give you only what they have decided to give you. >> rose: they want to be in control. >> yes. oh, absolutely. >> rose: and especially in actors, i think. >> yes. yes. so sometimes it's a bit of a battle of the will, undeclared. >> rose: but that was what one of those photographs we showed suggested. when you get them to do things, as when kate winslet arrives on the set when you're photographing sam mendes and she agrees to be in the photograph. >> yes. up? not expecting, not having prepared, not having made up. she's with the kids. shows up, is in the photograph. >> yeah. because, i mean, she's.......

>> rose: a prada who puts a band on her hair in the pool. >> but in the case of kate winslet, she's quite remarkable and fearless, you know. >> rose: fearless? >> yes, she's pretty fearless. and so the s prada. >> rose: clearly she is. now, you've traveled with prada. >> yes, i have. >> rose: and are. >> and are. >> rose: (laughs) all right. here's some pictures, some photographs from the book. they're divided into two groups, first is politics and art and the second is celebrity. okay, take a look at this one. so politicians are different than actors? >> in some cases, not always. >> rose: okay. (laughs) exactly. all right. first photograph is right here. this is henry kissinger, obviously. >> yes. >> rose: so, that really... i mean, little to say because i was... in '73 i've been

dispatched. that's, of course, the peace talks in paris. and i'm obviously like from far away point of view. i'm like... i have no access to him, he's just a... it was just an important moment for me to have. >> rose: and what does that say to you? >> it just says... i mean, the only thing that it says is that it was an important mopt in the time i was in, you know? >> rose: okay. the next is our president, barack obama. >> that i was extremely lucky. it was for the cover of new york magazine and it was just before... it was just before he actually announced that he will be running so it was in washington and i... i was incredibly lucky because he gave me all the time that i needed to do first portrait in a mock studio and then to spend the rest of the day with him. but the time he was sitting there, he was so engaged, so

present, so in the moment that i find it remarkable because it's rare that people are able to actually shut off all the other things around them and just be there for you, be present. that's what i'm looking for. but i don't always get it. >> rose: the next is hillary clinton. >> yes. again, something for new york magazine, the cover. following her the last week of the campaign. >> rose: now, was her hair that way? >> no, no, no. that's the thing. i asked her. and she... it was... she... she... i just knew she was finishing up the campaign. >> rose: so she knew, in other words, she was going to lose. >> she knew. she had decided to give up the campaign. i ask her will she take off her jewelry, her jacket, her pearls, a lot of her makeup and pull her hair back. and she said yes. >> rose: just like that?

>> just like that. and she stayed with me for an hour extremely engaged again at a very difficult moment in her... but knowing all along, also. she was doing it out of something she had said she would but also it was an important moment. and it was going to be the cover of new york magazine and it was an image that will mean something, you know? it was not the end of hillary clinton, obviously, as we know it. it was just the end of that chapter. >> rose: end of the chapter. okay, the next is edward sayyid, columbia professor. >> actually, in this portrait i photographed it. several times he came to my studio to do a portrait for one of his books and i wanted to photograph him very much. he's very charismatic, very handsome, extremely erudite, very funny. of all men that i met of great intellect, fascinated by the world of cinema and.... >> rose: they all are.

>> they all are. and it's a very... very enchanting to me that he was, like, so wanting to know. >> rose: what was he like? they always say "what was he like? are they smart?" >> what were they wearing? >> rose: what were they wearing. yes. >> (laughs) >> rose: next one is joan didian. the great joan didian. i have photographed her for a long time and that was.... >> rose: after john's death: yes john asked me to do the portrait of her for the book for the... it was before we... i mean, she even knew she would make a play, it would be a play. and there was just, again, at my studio and she just... i mean, you know, the thing with her is everybody always thinks she's so... she looks so fragile, she's so small, she's so thin. >> rose: delicate. >> and she was in such grief. but on the other hand, her intellect is, like, taking over.

she's still the same. she's still very strong. >> rose: the next is the dalai lama. >> yes. well, that was for... that was at his place and i went for conde naste traveler to do a portrait of him. i was very lucky because i went with a great man, pico. and pico has known him since he was a little boy and we had very special access. and so that's the dalai lama. >> rose: tell me what you think you've got. >> i think i got a good moment. i mean, he's obviously someone that is very.... >> rose: he laughs all the time. >> yes, (laughs) he does. >> rose: you tell a story and he laughs. >> yes, exactly. well, here it is. but he looks handsome there. >> rose: next is benazir bhutto and her husband, zardari, now the president of pakistan. >> and the son. >> rose: who's now the head of

the party. she looks so young there. >> she looks so young. it's 0 years ago. >> rose: is this in pakistan? >> it's in pakistan at her house. so the birthday party of this little boy and she... i had done a portrait earlier during the day at her office and i asked her, like, do one thing more in her house and she also said yes. and we arrived in this full birthday party of the little boy and i had just a little moment to do this one image, but i'm glad i did. >> rose: nelson mandela. >> yes. one of the most moving moments for me. >> rose: because of the magnificence of the man? >> yes. knowing all you know about him. knowing all his story. and also seeing on his face, i mean, it's only one image, but it's... he has this extraordinary smile of great,

great joy and it's.... >> rose: and also a sense of contentment and peace even though he went through enormous struggle. >> yes. and then the second after when the smile is gone it's like the most poignant face, you know? >> rose: the next is the late and great kirk varnedoe. >> oh, yes, kirk. well, very... you know it's like when you see one of these extraordinary handsome person, man, in this case. that seems to be unaware... not unaware but not using it at all. >> rose: the handsomeness? the seduction of the presence? >> i mean, how can you be so handsome and be acting like you are not? i mean... (laughs) it's not very often. >> rose: i wouldn't know. (laughs) >> (laughs) but, again, a remarkable

intellect. >> rose: and a brilliant speaker. >> brilliant speaker. brilliant speaker. >> rose: john updike. john updike. i went to harvard. >> rose: so tell me about the photograph. how did you get him to do that? did you say to him anything? >> no. i don't... i usually don't say. i don't say anything, no. i always.... >> rose: like the chin? the hand on the chin, nothing? >> no, no, no. no. but i put him in the situation that i want which is the most beautiful light and that's it. >> rose: and the next is... >> (laughs) well, i'll let you speak about that image because you remember it. >> rose: i do. of course i was scared. i walked out of there saying "i hope she burn it is film." it was a long time ago but it was crazy because i thought, you know, what am i doing here? >> rose: i remember very well because you were very much the cat's meow at the time. you were still doing the show at

night. >> rose: exactly. >> and everybody, and especially women knew very well. you were very aware of your existence. but i love that portrait of you. >> actually, i do, too. the next one is mick jagger and jerry hall. i love this. jager will do anything, will he not >> well, as you can imagine, it was his idea. >> rose: it was completely his idea? >> of course. it's always his idea. >> rose: and he said "i'll put on lipstick and wear a dress and jerry will put on pants?" >> we did a portrait for french "vogue" with jerry hall and mick agreed that he will be part of a picture at some point and we were at the shat doe in his chateaux and when it was the end of the day i suddenly realize "we have not had mick in the picture." so i said "are you going to come

please? we're at the end of the light." and he looks at me and says "yeah, but what am i going to wear?" and i saw his eyes look at the rack of clothes and suddenly.... >> rose: he sees the dress. (laughs) >> and within minutes he was in that dress. but, of course; it's a normal portrait. it's not over the top. >> rose: the next is anthony minghella who was a great friend and this, i assume, was... that was "the english patient"? >> no, no. that is at the wedding of his daughter hannah. >> rose: that his son? >> that's his son mark and his father and it's just one of the... i mean, it's an extraordinary moment because it was just months before ant anthony died and it's just such a moment because anthony was constantly touching you and.... >> rose: oh, that's amazing. >> such tenderness. >> rose: the next is warren beatty. >> warren, a great love of mine.

>> rose: a great love of yours? >> well, a great love in the sense that i love him, yes. >> rose: (laughs) >> he's just the most enchanting smart, funny, complicated. and i have a long friendship with him, i've known him for a long time. i admire him. >> rose: and his neighbor jack nicholson. >> jack nicholson. jack nicholson i don't really know and he's one of the hardest persons to photograph because you know so much about him. he presents you this person. but i think he looks.... >> rose: next is the late sydney pollack with al pacino. >> yes. yes. that was for ""bobby dore field." >> rose: about a formula one racer. >> and moments before the tape he's checking his character is all there. >> rose: next is don johnson. frank rich talks about this in his... >> i know, everybody's very.... >> rose: why?

>> i think because we've come to know them so much and i've... i mean, here they are first of all looking like twins. >> rose: yes, indeed. >> at the height of their beauty and youth and intertwined and it's hollywood at the time. >> rose: next is new york's great woody allen. >> yes, doing "manhattan." >> rose: and how did that happen? he has that same look, that sense of curiosity and searching and looking out and asking questions in his head. >> yeah. waiting for an answer, maybe. i went on the set because the great ballerina from balanchine had been asked to be an actress in the film. woody had asked her so i went along to take pictures. >> rose: next is, as i said, your great friend martin scorsese and his daughter. >> yes. well, and, you know, what can we say? i mean, one of the most

interesting men i know. >> rose: why is that? because he's so passionate about film? >> he's so passionate, yes. >> rose: it's almost like an encyclopedia of film. >> he knows everything. >> rose: and loves communicating it. >> yes, but in a way that he's enchanting. always funny, always... everything reminds him of a scene in a film, you me? of a moment with someone extraordinary. he's just extremely funny and eccentric. >> rose: the next is helen mirren. >> again, i asked helen mirren. it was quite actually.... >> rose: take off your clothes. >> exactly. >> rose: and she said "whatever you say." >> that's what she said. >> rose: why did you want to do that? >> because that's what i want to do. i want everyone to be.... >> rose: you want to strip them down? >> yes, i try with everyone. >> rose: here is julie christie. there was a great story behind this. she was in ireland, was she not? whales.

>> whales. she had short curley hair. she was not working, really. >> rose: and she was doing something interesting there. >> she has a little kind of farm and i was so enchanted and so i went there and i took all these pictures with her during the day and all along i was thinking of julie christie, extraordinary face that you could not see because of the shock of curley hair and i asked her could she... i had my sweater and i said... we did sfrot a scarf or anything so i said "can you tie that sweater and make it like a make your hair go away and she did. >> rose: this is dustin hoffman with the ballet on broadway. >> well, the wife at the time, they were doing an evening of ballet on broadway and dustin was on the side, i was doing the poster with all these dancers and, of course, could not stay on the sideline. he had to jump in and take off his pants and be part of it.

>> rose: he could not. that's exactly right. now we're going to take a look at three clips that i did with someone just to have you talk about what he says as a photographer. role tape. when you take the photograph, is there a moment for you that you know when to snap? >> when the subject takes me in. then i shoot. but just to concentrate, concentrate. in the silence. and you musn't want the most real receptive. don't think, even. the brain is a bit dangerous. >> rose: is it true for drawing as well? >> life in general. >> rose: in general? yes, very good. it's philosophy of life is to

let it... soak it up. let it overwhelm you. >> exactly. >> rose: rather wise. >> exactly. (laughs) i have nothing to add. >> rose: he had it right. let it come to you. >> yeah, let it come to you and don't really think of it. just let it come to you. >> rose: here he is talking about why he likes to focus on portraits and why they are so challenging. in terms of photographs, you are a defining artist, a founder. and it's just so much talk to you. it has no meaning to you. >> i'll try to do better next time, that's all. >> rose: how do you get better than this? this work goes back to the '30s, the '40s, the '50s. i don't know of anyone who's taking better photographs

anywhere. nor does anyone else, than what i see on these walls. >> i take portraits now. for me it's the most difficult, portraits. >> rose: why? >> because you have to pretend that you're not there. that you're not taking pictures, then you shoot. i enjoy very much taking portraits. >> rose: you do? >> yes. and now i'm taking portraits of you without a camera. that's the trouble. >> rose: (laughs) that you don't have a camera. you like portraits because? every face is different? >> because it's very difficult. i wrote it somewhere and i'm sorry to repeat it but put the camera between the skin, it's very difficult. that's taking a portrait. the camera between your shirt and your skin.

that's looking at people and guessing, guessing, guessing. all the time guessing. >> rose: there is one more that i want you to see because it is about the thing that you love most. he's talking about what you have devoted your life to. it's your obsession, it's your passion, it is your life, and it is your work. all of that. and it is the bond you have in part. good painter. do you photograph him, say, because he's a friend? because he's an artist? because.... >> i can't remember only one thick. >> rose: what do you remember?

>> he asked me "why did you shoot me then?" and i said "why did you put the touch of the yellow amid the glow of this painting?" he couldn't answer. >> rose: you made your point. >> beyond the talking to people. >> rose: is that true. you had no answer why you shot him then in the same way that he doesn't know why he put yellow. >> it doesn't come with words. >> yeah, it's very... what can you add, you know? he's right. it's very hard. it's very instinctive what you do. >> rose: if this program has purpose, it is that we have over the years captured people like him in a way that most people never saw him. a sense of who this remarkable man was. that was when he was in his 90s.

at the claude bernard gallery. and i was about 15. >> (laughs) >> rose: (laughs) so what's next for you? how do you see the next ten years? >> you know, i just always see myself day to day doing what i love everyday. that's the only thing i can just like focus on, really. hard to tell what's going to happen because of the incredible digital and the fact that everybody has a camera. i mean, as you know.... >> rose: every cell phone has a camera. >> every cell phone has a camera. what's happening now, we get all the information. w digital. >> rose: technology. >> and the magazine now may be soon obsolete. so i don't know. and maybe at some point i will also be tired of traveling the

world and i will... it will be more of a time to be on my own than constantly engaging and... but i don't know. for now i'm just thinking day to day and i'm going to work tomorrow. >> rose: going to work tomorrow. >> yes. >> rose: thank you for doing this. >> thank you very much. >> rose: it's great to have you here. >> thank you. >> rose: and it's a remarkable book and a remarkable sense of capturing in photographs history. >> thank you. >> rose: people who make history whether it's in the arts or whether it's in politics or whether it's oh aspects of culture. this book is called loc. "lacombe anima/persona." >> rose: sam altman is here, he

is the founder of loopt, a mobile networking application which allows users to locate friends on their network. he came up with the idea while a sophomore at stanford. today loopt has over one million users, major u.s. carriers including sprint, at&t and verizon all offer the service. loopt is another example of how people now use their cell phones for more than just to talk. i am pleased to have sam altman at this table for the first time. welcome. >> thank you, charlie. >> rose: what is loopt about and why is it important? >> loopt is about people using their cell phones to connect to the world around them. the importance of cell phone technology in our lives has really taken off in a way i think few of us ever predicted. the average u.s. teenager sends almost 2,000 text messages per month. the dependence on this device and how engrained this has become in our lives is incredible. one of the unique things about these devices that hasn't existed in the web world is that they know where they are. they have this location technology and if you want you can share your location with other people. or you can find great restaurants around you or you

can meet someone new in the same bar as you. all these new modes of behavior that haven't existed before are now possible with these location services and our goal is to deliver the best ones of those we can. >> rose: how does it work? so you are with your iphone or with your... >> with pretty much any phone. >> rose: you are in manhattan an times square. >> and you pull out your phone and you'll be able to see which of your friends have chosen to share their location with you is nearby. so for example when i was on the way over here this afternoon i noticed that a friend of mine that i hadn't seen in months was within one quarter mile. i got alerted by that on loopt and i'm going to see him for dinner later. >> rose: because you knew he was in the neighborhood. >> and i never would have otherwise. so it's those kinds of experiences, these real world physical connections that you're able to see. you can look down at your phone and say here's where my friends are, here's a good new restaurant i should try and decide what to do. >> rose: but the only people that will can... you have to be in network. you have to consent to do it. >> it's all opt in.

and if i choose to share my location with you and later the side i don't want that, i can stop that. >> rose: so if you want to hang out in new york without anybody knowing where you are, you can tush it off. >> which i often do. >> rose: so how do you think it has use other than sheer enjoyment for people who want to know where their friends are. >> i think the... technology is great, but one of the downsides to technology, it often isolates us behind our representative computers and i think we've lost this real-world interaction that we used to have. and one of the fascinating promises of location technology is this ability for us to have real world connections and so i can see people i wouldn't normally get to. or if i'm a parent i can use this for peace of mind because i know where my kids are with their consent. or if i need a restaurant, i could find one. so the... you know, we are amazed everyday we hear about new ways people are using this and things that we never thought of to connect with the people that they care about. >> rose: and what's the demographic of the people who use it? >> the average age of our users

is mid to late 20s and they tend to be in big cities. although they that's changing very quickly. >> rose: and primarily these are people in a certain neighborhood and therefore they tell you what restaurant they're in, what bar, what recreational facility. >> exactly. but it's useful sometimes just to know i'm in new york. >> rose: how will advertisers use this? >> so... it's a great question. i think that location is going to be a huge part of the future of mobile advertising. if you think about all of the different things that advertisers use to target users, the biggest missing one has bee location. and in some senses, that's the most important one because what we find is that users are very much more likely to act on an od for something near them because it's relevant, it's right now, it's actionable. so we have huge interests from advertisers all the time that want to deliver location targeted ads. and the other thing we find is as long as it's presented correctly to users, users are okay with this. we were worried there's be a big

lash towards location target advertising. and it's something that as long as the user understands how it works and understands how they have control over their privacy, it's something users generally embrace. >> rose: someone said to me the other day "i like my iphone primarily because it gives me an access to so many applications that i can't get anywhere else." >> yeah. >> rose: is that a phenomenon that will shrink and shrink and shrink as other smart phones step up to bat and have applications that will be used on their architecture? >> everyone has been staying that that will happen for a couple years now. everyone said "the iphone is great, but everyone sells going to come out with a great smart phone and take away this market share." and that hasn't happened yet. first of all, apple just made the best mobile device the world has ever seen. >> rose: why do you say that? i mean, is it better than the palm prenow? >> i think it's better than bomb prix. >> i think the ease of use

combined with what's available in a few clicks. one of the most important things we see is how easy it is to use. and the fact that i can pull out my iphone and do anything i want with just a couple of touches and i don't have to scroll up the menu and just hand it to you and you can figure out how to do it. most people can't with a palm pre. that's simplicity and the beauty of the device. >> rose: ease of access has been a principle determinate of success for technology companies. i think. >> absolutely. i think apple has always understood that well but i think they have outdone themselves here. the reason that i think that that share may not shift is there's 65,000 applications available for the iphone. >> rose: 65,000. >> 65,000 applications. >> rose: and they take these wonderful full-page ads out in the newspaper. >> we were lucky enough to be the recipient of one of those. >> rose: and you look at that and say "i would like to have these, please." >> yes. the users want to go where the

applications are and the application developers want to go where the users are. so even if another phone manufacturer came out tomorrow with a device as good as the iphone, there's an ecosystem built up around it and this cache and availability of alps that i think will be challenging for someone to... apps that will be difficult in the short term. >> rose: what application do you use? >> i use loopt the most by far. but i think i have a hundred applications on my phone. i use e-mail the second most. there are a couple of games, one called flight control which i have sunk hours and hours. >> rose: what is flight control? >> it's a little game that sounds so stupid. you sort of control airports with your finger and make them land on runways and i cannot stop playing it. >> rose: (laughs) it's a measure of what? >> sort of reflexes and speed. how quickly you can coordinate planes on to runways. but it's so much fun. i use the new york subway app all the time. i use the yelp app. the list goes on and on. >> rose: what's yelp? >> yell subpoena a local review.

it's a partner of ours. they have a ton of information about any restaurant you could ever ask for, good ones; bad ones. i use that a lot. >> rose: there's a whole bunch of those that do that, a whole bunch of applications do that and yelp has been one of them. what's the next big idea? is it simply the extension of the mobile phone or the smart phone? >> i think the next big idea is that the mobile phone is going to be as revolutionary or more than the computer. and i think we've just seen.... >> rose: more revolutionary as the p.c. >> i would go on record as saying that, no problem. there are more of them in the world than p.c. its a 4/7 session. most of my friends sleep with their phones at hand's reach and if they turn them off they feel physically uncomfortable. >> rose: are you serious? >> totally serious. >> rose: in terms of smart phones, where are they going? what will we see?

>> this is much harder to predict. i think that we will... the only thing i'm sure of is voice is going to become less and less applications. >> rose: voice will be less important? >> i think so. i think you're already starting to see that. certainly voice revenues are falling quickly. but i think the amount of that i use.... >> rose: voice meaning phone calls? >> phone calls, right, sorry. the amount that i use my phone for voice relative to other things, i'd rather send a text than make a call and i'd rather send... well, i'd rather send an e-mail than make a call, too, but i'd rather text. >> rose: would you rather text than e-mail? >> yeah, interestingly enough, more and more. i find myself texting rather than e-mailing. >> rose: and what about twiter? >> i do use twitter. >> rose: why do you use that? >> i use twitter for two reasons. one i do tweet to let people know what i'm doing, but the realtime search on twitter is something that i never would have predicted being as powerful as it is. but the fact i can tape in anything, i can type in the charlie rose show and see what the world is saying about it right now is so interesting to me and so useful for a certain

class of searches. >> rose: what would happen? explain the process for people who don't tweet or know what twiter is all about. >> so if you go to search.twitter.com and type in anything, you will see what people are saying about hit in the last ten seconds worldwide. and it's just this fascinating peek into the world psyche we've never had before. so i just know, like, if there was some big event happened i would go there for news because it will be there... people will be talking about it and what it means and what has happened so much more quickly than the traditional media. >> rose: you went to stanford. what did you think you would study? what did you think you would be? >> i wanted to go to stanford from as young as i can remember. my parents got me a computer, a mac l.c. 2 when i was eight years old and i so fell in love and i can still... i still have the actual computer. but someone that set it up for me told me that stanford was where you go if you want to learn about computers and i decided right then i want to go to stanford to study computers.

>> rose: did you want to learn about computers because you wanted to create businesses or because of the sheer thing itself? >> yeah. the technology is so fascinating to me. that was the reason. the startup kind of happened as someone what of an accident. i realized it was a possibility going to stanford but i fell so in love with the technology and the colin poweller of these dwis and how much they've changed the world since the ten years that i've been paying attention is unbelievable. >> rose: now you know there's a lot of controversy about what loopt can do. >> yes. >> rose: criticisms from a range of people. >> with every new technology there are i think unique challenges and certainly with location awareness services the challenges around privacy... we build a tool and we do everything we can to stop that being from being misused but i can't sit here and say there's no way it can be used for eve evil. we build on all the technology we can to prevent that from happening. but i think as the public becomes more aware of these services the chances for misuse

cases become lower and i think we do everything we can to educate users. >> rose: how have you changed your original concept of this in order to impede? >> let me give you one example that i think is a non-obvious thing that we changed after our first version. we met with the national network to end domestic violence. wonderful organization to get feedback about our product. and one of the things they pointed out was it's not enough to allow users to turn the service off. because someone in an abusive relationship could be told "you're not aallowed to turn the service off." so we have a new feature there that lets you set a location different from where you are. so you can appear like you're wherever you'd like to the rest of the world, to all of your contacts on loopt. so we've had to come up with features and technology like that to address some of these misuse cases. >> rose: what else might you

have to do? >> another problem was the fact that people could have loopt put on their phone without being told about it and they never had a chance to opt in or out because loopt is on their phone. >> rose: who would do that? >> crazy boyfriend or girlfriend and so we've developed technology to watch for that case. there's a very specific usage pattern. we also send a reminder. sometimes we even send physical mail to let you know you're using our service or one like ours. again, we want to make sure our users want to be using this with the people they're using it with and know what's happening. >> rose: lots of people are struggling with the number of questions having to do with content in newspapers and whether content, which is all free, will be free, should be free and the implications of all of that. there's also the question of monetization. how does loopt monoties its product?

how does facebook monoties its product? how does twitter mono ties its product? >> so we have two pry mafr revenue streams. one is a very traditional model that's easy to understand where either our users pay us or the carriers pay us to offer our product. that's a unique advantage over mobile. it's thus far been easier to get money on mobile than on the web. second, location-based ads are worth a lot to a certain type of advertiser and we think that will continue to develop into a very nice business for us. i'm not sure if the world can trend towards everything being free. there's a lot of debate about this. my guess is that the world will trend to a... there will be free versions of things there will be premium services and there will be advertising. >> rose: have you read chris anderson's book? >> of course. >> rose: (laughs) what did you think? >> what did i think? i think that... that book caused more of a stir, i think, in silicon valley than lots of other things that i remember. i think it caused a stir because

people were saying, wow, maybe the whole world is going to go free, or maybe everything that matters is going to go free. and it has not yet been proven with a couple of notable examples like google that most technology businesses or media businesses can make money that in n that scenario. >> rose: or "wired magazine" can make money that way. >> or "wired" magazine. so there are a lot of people that are optimistic but there was a time when that was being tossed a lot about and it caused... you know, people that i really respect to say if your business model is free and ad supported, don't talk talk to me because we're never going to figure this out. >> rose: that right? venture capitalists who might want to invest in you said "if your business model is dependent on advertising and offering your service free..." >> right. >> rose: as commercial television does. >> yup. and i think there are a lot of other things going on at the same time. there was a global economic meltdown and i think it was a little bit of an overreaction. .

non-vertising supported models in sill von valley. >> rose: what's the risk of someone like google and latitude or microsoft or whatever they might create or whoever originates software says sam had a great idea, we ear going to copy it, we have more money, more resources, we can hire more eng fears and watch out, sam. >> it appears to us that that's what happened with latitude. we developed a very nice product and google talked to us for a while and then came out with this. >> rose: how did they talk to you? >> we were right down the street from them so we went in to talk to them about... we used their maps, i think we used their search. so they knew about us, they knew what we were doing, they came out with latitude. i'm happy to say that there was a lot of talk about latitude is going to kill loopt and it hasn't come close to happening yet. i think we have huge respect for google but we can outinnovate anybody in the world. and we're very focused on this. we're nimble, we're quick and we'll keep delivering a better

product. >> rose: so where do you want to take loopt? >> we really want to be the where the world comes from location awar services. when you think about i want to find a friend or i want to find a restaurant or i want to add location to this other service, we think we understand that really well. we have... we're very fortunate to have deals in place with all the major carriers. we have the biggest network of any other of our competitors by far and we want to be that a... deliver a service. >> rose: did you have to resist the... the first carrier you went to, did they say "fine, we'll make a deal with you, sam, but it's exclusive." >> they said exactly that. >> rose: and you said... >> we were able to show them the lessons from text messageing this which has been important to carriers. text message until 2001 you could only text from one carrier to someone else in that carrier. around that same time, you could text from any carrier to any other carrier. and the growth went from something like this to something like this. and we were able to tell the same story. that it benefits you more to

have location sharing with everybody. because this is really a communication service and people want to communicate with the people they care about no matter what network they're on. so we were able to tell that story. >> rose: up the operative idea seems to me that you... you know more about this than i do. the operative idea seems to be ubiquity. get it out there in more ways than you can possibly imagine. >> and make it available to everybody. >> rose: ubiquity is your friend exclusivity is not. >> and many people have learned that lesson industry wide, which is great. >> rose: you're making money. >> we are making... we are not profitable but.... >> rose: you have a cash flow. >> yeah. >> rose: great to meet you. thank you for coming. >> you as well. thanks very much. >> rose: pleasure. captioning sponsored by rose communications captioned by media access group at wgbh access.wgbh.org