to hold the opinions he does, especially at a time like this. you admire him? i don't think he's a fool. i mean, you read the medical report of...isaac wolf, the man who got beaten up? i don't think you can blame spencer for that, sir. he knew nothing about it. how do you know? he told me... and i believe him. margaret ellis' will-- he had the most to gain from it. i still think that spencer was the likely target, sir. all right.

[clock ticking] sam: arthur ellis-- who'd want to kill him? foyle: i don't know, but you probably do. my guess is, he probably saw something. that's what always happens. he sees something, then the killer has to silence him before he can say what he knows. how is he? his heart had stopped. it was touch and go for a while, but we managed to revive him. they're just getting him to hospital. and what was it? veronal, i'd say. some sort of sleeping draft, anyway, in his whisky. who found him? his son. all right. my father was late coming down to breakfast,

so i went to call him. i found him lying on the bed fully dressed, and at first, i thought he must have had some sort of heart attack. i don't know. did he often have whisky before bedtime? i don't know. this your dad's? yes. he didn't smoke it much. and, um... and you say you... haven't... touched anything? no. i thought he was dead. i called the police. well, for... someone whose mother's been murdered and father's been poisoned, you seem remarkably unaffected. what would you like me to do, cry? i never liked my parents.

my mother was cruel and stupid. what she said about the nazis and the rest made me sick. my father... was scared of her, totally under her thumb. it was her place, you see. no, you have no idea what it was like living here. it's always the same. if you had read freud, you'd know how much damage your parents do to you. it starts... even before you're born. ah, yes, you read, uh... yes. i wanted to study psychoanalysis. i wanted to go to university. they wouldn't let me. well, stanley, lying is never very clever, but lying to a police officer is a very serious offense. i'm not lying. everything i've told you is the truth.

mr. ellis? yes. how are you feeling, mr. ellis? can you tell me what happened? you don't know? well, you didn't leave a note. no. whisky and a sleeping draft-- it's fairly evident you tried to take your own life. why was that? isn't it obvious? not to me. people had the wrong impression about peggy.

she was a strong woman, opinionated. but they don't understand. i'd been married to her for 22 years. she was everything to me... everything. stanley is 22? yes. we were courting when peggy found she was expecting, so, yes, i did the decent thing. but that doesn't change anything. i'd have married her anyway. i loved her, always did. were you aware of the changes your wife made to her will? spencer is a swine. i tried to talk her out of it, but she wouldn't listen to me, and so now... half the hotel. how do you expect me to go on living when... everything i care about has been taken away from me?

do you cure your own meat at the hotel? what's that got to do with anything? would i be right in thinking that? i don't know. yes. margaret was in charge of the kitchen. thank you. christopher, i'm afraid i've got some bad news. sir ernest bannerman, the mp at the white feather, he's managed to pull rank. he's made some phone calls, and the long and the short of it is i had to release the lot. ok. they've except spencer. he's here, and he wants to talk to you. all right. how can i help you, mr. spencer? you're holding my assistant,

and unless you're going to charge him, i'd like to have him back. you're very welcome to him. just a minute. i haven't finished yet. are you any closer to finding out who killed margaret ellis, or, for that matter, who tried to kill her husband--arthur? i want you to know that i shall be making an official complaint-- arresting fleming, keeping me detained for 3 full days. i think you've acted well beyond your authority, mr. foyle. sorry, sir. it was normal procedure. normal or not, it was unnecessary and inconvenient. have you finished now, mr. spencer? i'm a politician, mr. foyle. and the way you've treated me, i think you have forgotten that i am the leader of a legitimate organization with legitimate views, even if you don't agree with them. but i'd like you to know that i am just as much a patriot as you are.

i love our country. but it is possible to believe that this war with hitler is misguided. poles and czechs, they're jewish interests, not british. i know what you believe. i don't think you do. i doubt that you know, for example, that the first 2 british pilots shot down over germany were black shirts. the kiel raid at the end of last year-- they were both mosley's men. and sir ernest bannerman, mp-- i suppose you would call him a crank and a traitor. well, he served in the first war. he was a member of the north russian relief force in 1919. right now, he has a son serving in northern france. you have a son serving with the raf. are you prepared to lose him, to see him slaughtered simply because hitler invaded poland?

i'll take you to mr. fleming. thank you, milner. you see, we're not so different, you and i. we would both welcome an end to this war. by the way, you will let me have that book back if you've finished with it, won't you? sir... [distant gunfire and men shouting commands] [airplane]

your unit number? i need your name, rank, and regiment... [men speaking indistinctly] i'll see if i can help, sir, if that's all right. go ahead. [airplanes] [speaking indistinctly]

i didn't expect to see you here. well, they told me you were back. and you thought you'd come for david before he scarpered. no. i've come to tell you that i know he had nothing to do with the murder. we picked up 15 of our boys... 15... and there were thousands of them there. you've never seen anything like it-- white sand stretching out for miles...

ships everywhere-- hundreds of them. motorboats, trawlers. picking up 15 here and 15 there. you know, we're gonna get the army out of there. we're gonna do it. there were bodies. you saw them on the beaches. and as we went in there, the germans were coming after us-- stukas, dorniers. i was lucky, though. there was some sort of refinery burning and the smoke-- it protected us for a while. where is david? i told you i'd bring him back to you.

here he is. he waded in the water to help someone out. he was helping them onto the boat-- they're here. they made it home. but he took a bullet. it came out of i don't know where, and... he was as near to me as you are, and i saw the light go out of his eyes. but i said i'd bring him back, and i brought him back, even though it meant taking up space that could have been used by someone else. here he is.

edith: dead? foyle: yes. i'm very sorry. but why? he weren't a soldier. the war was nothing to do with him. why did he have to go? well, he believed it was right. edith, whatever margaret ellis has told you, there isn't going to be a german invasion now, not today, not tomorrow, perhaps not ever. how did she frighten you into cutting the wires? she didn't. what did she say was going to happen to you when the germans came? nothing. she knew, didn't she? she knew that your grandmother is jewish?

she said i wouldn't be allowed to work anymore. she said i'd be put in a camp... [sobbing] that she wanted to look after me, but first, i'd have to prove myself... do something to show i was on her side. i didn't think it would matter that much. i knew it was wrong. i thought someone would find them and mend them. [edith sobbing] i didn't think i was being a traitor. i was just so scared. what will happen to me? will they hang me? will i go to prison? no. don't have a case to answer. you're free to go.

well, thank you. it's ok. you're not going to forget david, are you? no. 'cause he was right, wasn't he? yeah. [birds chirping] you should understand, stanley, that you could go to prison. but i haven't done anything. yes, you have. you've lied to me, a police officer, and obstructed the course of justice. no, i didn't. you told me you hadn't touched anything when you went into your father's room, which isn't true, is it? you took your father's suicide note. no. there was pen and paper up there on the desk. and when i visited him in hospital, he was as surprised as i was that the note hadn't been found.

what did you do with it? i destroyed it. why? to...protect him. suicide is against the law. well that's another lie, isn't it? i mean, what did it say? i won't tell you. i can't. arthur...you feeling any better? yes. thanks. arthur, i'm sorry to have to tell you that i'm here to arrest you for the murder of your wife. that's absurd! the husband who loves his wife so much that he'd rather kill himself than live without her is a little way off the truth, isn't it? it's true! peggy was the backbone of my life.

arthur, arthur, you hated her. your son knew it, everyone knew it. probably often dreamed of killing her, didn't you? but you never had the nerve, because everyone also knew that you were terrified of her. and as the coward at the white feather, you rather resented being something of a local joke until, of course, you began to believe that the world was about to change. what do you mean? that a nazi invasion of england would cause so very much disruption that there'd be no effective police force and no law, as such. there would be no reason and nobody to investigate an insignificant... little murder at a countryside hotel. spencer believed in the invasion, your wife believed in the invasion, and, ironically, as it turned out, she convinced you. and, uh... it was the night of spencer's talk, wasn't it, that stanley... told you about the gun, didn't he? stanley, voice-over: i was in room 6 just now,

mr. woolton's room. what were you doing there? guess what i found. what? what did you find? tell me. foyle, voice-over: you thought you could make it look as if spencer was the actual target, and your wife had been hit accidentally, which is why you arranged for it to happen in the dark, by leaving all the lights on in all the rooms as you turned down the beds, which overloaded the fuse box. but then you had to be sure that you could actually hit your wife and not spencer. i take no pleasure in so many young lives... foyle, voice-over: spencer said that during his speech, you were fiddling with your pipe, but, you see, stanley told me that you hardly ever smoked. it was... potassium nitrate you used in the pipe, saltpeter, which is used, of course, in gunpowder, but it's also used to cure meat, which is why you had a supply of it in the hotel. and it acted as an oxidizing agent, and it... added to the tobacco and made it glow. you lit the pipe while spencer was making his speech.

i take no pleasure in so many young lives being sacrificed on the altar of politics. the british government has misled us long enough. what's going on? i'm so sorry, everyone. it's a fuse. do sit down. arthur? foyle, voice-over: and when the lights went out, you put it directly in front of margaret so you could use the glow as the target. aah! aah! foyle, voice-over: you got rid of the gun as quickly as you could. it wasn't yours anyway. and after that, you were biding your time until... the invasion. but it never came. stanley, voice-over: i don't know why you're kidding yourselves. the jewish plot-- everyone knows it's not true. stanley. no, dad. i'm fed up with it. i'm fed up with the lot of them. if the germans were going to invade, they'd have been here days ago. foyle: no invasion, and you panicked. you were going to be found out after all,

and you decided to... take the easy way out. yes. i wanted to kill myself. and stanley destroyed your suicide note, understandably. a fascist for a mother, a killer for a father-- not shining examples of parental guidance. no wonder he was reading freud. what will happen to me? you'll be tried for murder, arthur. i loathed her, you know... and the scum she brought to the hotel. didn't give you the right to kill her. please tell stanley i'm sorry. tell him... i wish i'd been a better father. i think he knows.

yes. milner, sit down. congratulations on the arrest. ellis has signed a full confession, so i suppose that's that. why didn't you tell me about your association with spencer? i told you we'd met. you told me you'd wandered into one of his meetings. you didn't tell me you then went and had dinner with him. i didn't think it was relevant. principal suspect in a murder inquiry-- of course it was relevant. he didn't commit the murder. well, we didn't know that then. in your notes about him, there's no mention of his arrest for embezzlement. was that irrelevant, too? he was acquitted. that's by the way. but more than this, more even than your apology to him in front of me,

and something that i take to be a personal betrayal, is that you talked to him about me. he knew i had a son in the raf, and he could have only got that from you, isn't that right? i did speak to him, yes. and i'm sorry if i betrayed any confidences. but i never said anything lacking in respect. speaking to him at all was a lack of respect and a lack of judgment. i'm astonished you can't see beyond the front of these people. do you really believe what these people--spencer and the friday club--have to say? no! you don't have any idea what's it's been like since norway, how i feel. i'm not asking for any special favors, and i--i don't want your sympathy. but i don't understand why it happened, and i don't understand what it was for. at least spencer made me feel like he was on my side and that i'm not to blame for it all. he had a reason. there was a reason, milner. what do you mean? i don't agree with his views, but guy spencer is a good man.

milner, i'm sorry to have to disillusion you, but... is this the book he lent you? "the protocols of the elders of zion-- how the jews plan to overthrow christianity and conquer the world." have you read it? no. are you anti-semitic? no! is hitler right doing what he's doing to the jews? no! you don't understand. i just wanted the facts. spencer gave them to you? while he was at the hotel, spencer took possession of a letter smuggled out of whitehall and given to him by a traitor--rosemary harwood, and given to him in the hope that he'd pass it on to the enemy. after the murder, spencer was trapped. he had the letter, but he didn't know what to do with it.

he gave it to you because you were the one person at the hotel we wouldn't dream of searching. after the investigation, you'd send it back to him, and he'd pass it on to the germans. do you want my resignation? no, i don't want your resignation. that's the last thing i want. i can't do this bloody godforsaken job on my own. what i want is to forget all of this happened and, more importantly, for you, starting now, to be with me 100%. in spite of whatever problems you're going through, it's important that you and me and sam are able to trust each other and we're on the same side. is that understood? yes, sir. understood. good.

that's all. radio: we've known them and laughed at them, these fussy little steamers, all our lives. we've called them the "shilling sicks." we've watched them load and unload their crowds of holiday passengers, the gents full of high spirits and bottled beer, the ladies eating pork pies, the children sticky with peppermint rock. but now, look. this little steamer, like all her brave and battered sisters, is immortal. she'll go sailing proudly down the years

in the epic of dunkirk. and our great grandchildren, when they learn how we began this war-- by snatching glory out of defeat and then swept on to victory, may also learn how the little holiday steamers made an excursion to hell and came back glorious. man: i know that my redeemer liveth, and that he shall stand at the latter day upon the earth, and though after my skin, worms destroy this body, yet in my flesh, shall i see god. and i shall see for myself, and mine eyes shall behold... i've got a son the same age. captioning made possible by acorn media

next time on foyle's war... war is evil, it's irrational. if history has taught us anything it's that war only leads to more war. its the only thing this family has done to help the war effort. taking in an 11 year old child and you can't wait to see the back of him. i came here because i want to be heard! that is enough. no mr. foyle, i'm stayin' and uh, i'm not leavin' without my boy. everyone said from the start that gascoigne was corrupt and now david's dead. and you're here trying to keep a lid on things. you too will receive justice? and, um, finish off with your dismissal from the police force. for months and months i've been sitting there in london and not a single bomb has fallen! barnes and noble is pleased to support foyle's war on public television. experience nook color, the readers tablet by barnes and noble. po books, newspapers, music, games and hundreds of apps. in our stores and at bn.com.

d - 6 is available now on dvd fr $149.99 plus shipping is at acornonline.com/ptv l oral c800-929-3759. al interviewer: now anthony, sherlock holmes has his watson, morse has his lewis, and foyle

has milner, but there is much more to milner than just being foyle's deputy. his experiences in the war have made him a very complex man, how do you think they have molded him? anthony: he has a physical and constant reminder of the horror of war a-a-and what this war is doing to people and is continuing to do to people. um, and i think he's, you know, because he's got this first hand experience and that he's had to overcome a fair amount of inner turmoil, i think that it has strengthened his resolve and strengthened his, i think his commitment, to uh, to dealing with, all be it perhaps on one hand petty crimes and on the other hand could be murders. i think he has resolved himself to dealing with it as best he can and you know, his

ambition was to go to war as a corporal to defend his country in that way, but i think he sees now that his position is to defend his country in the way that he can. which is helping foyle and being part of a team. because there is a fair amount of evil stuff happening in hastings, that they, that they have to deal with. so i think it's, its kind of given him a strength and a mission to deal with it. interviewer: usually in these kind of series it's the boys that get to play with the toys, but of course samantha drives that fantastic car in the series, so what was that like honeysuckle, was it fun? honeysuckle: oh it was brilliant, i mean that... it's a great car. i wish i could take it home with me. no, apparently, um, i get to drive a petrol tanker in the second episode and mr. bennet's car. i get three different types of car.

which is really good fun because, well cars are fun aren't they? and apparently the queen, um, had my job... sam's job in the war and she knew how to take apart engines and stuff. i only wish i knew how to do it to my own car because it might save me a lot of bills on carriages and things. but i think, um, no it's great, you know, the fact that she's a character who knows how to fix her own car, you know, and s-s-she has a couple of chasing scenes in it and stuff and so it's very good fun. interviewer: anthony, i know you spent a lot of time researching artificial limbs and being an amputee for this part. how difficult was it to portray someone with an artificial leg convincingly? anthony: uh, the, i think the important thing that i wanted to do was to rather than act the position of somebody who, obviously, had an artificial leg... having to start with the

physical constraint and then overcome it, as it were, as the series progressed. as you would do. if you have lost a limb, or a leg, or whatever, you know, you don't want to have to think about having to pretend that you've got it, or not. so for me the important thing was to find the reality of the púysicin constraint and then spend the time on screen exploring how to cover that up, or how to sort of fulfil a rehabilitation process. and so i went to roehampton, to the hospital at roehampton, which is where douglas bader had his artificial leg and apparatus measured and fitted and he went through his rehabilitation there. and they took a cast of my leg and made a plastic, sort of a sock fitted over my leg, under my trousers and under my shoes

so that from day one i had the physical constraint of what it would be like to have an artificial leg, you know, and then i could work with that with walking sticks and crutches. and, you know, spoke to them about the pain.

>> rose: welcome to our program. tonight we begin with angelina jolie, writer and director of "in the land of blood and honey." >> and you're watching all these human beings and human beings you can relate to, i hope. and you watch what happens to them or the course of these years and how decent, relateable people become people you cannot understand and so primal and so violent and so... and neighbors kill each other and people are forever damaged and how does that happen? and so i would hope it would bring out the responsibility to remember bosnia,earn from i, and understand the importance of intervention. >> rose: we continue with angelina jolie joined by actors

zana marjanovic and rade serbedzija. >> i love angelina as an actress. >> i know. >> but it was script. she's sending me this, i really fell in love with this beautiful story. i think she reached... i like to say she reached some depth of greek tragedy with this story. >> we never thought it could happen to us and it did. so it can happen any time and anywhere. and which is why it's so important that things like this film are made. that it keeps reminding us so that hopefully it won't happen again. >> rose: we conclude with the son of former israeli prime minister ariel sharon. >> the world knows that my father is an historical leader and i bring the less known side of him, the warm and loving family man. >> rose: director angelina jolie

and actors from her film "in the land of blood and honey" and the son of ariel sharon, gilad sharon wn we continue.

captioning sponsored by rose communications from our studios in new york city, this is charlie se. >> rose: angelina jolie isere. she's an actress, director, ther, and humanitarian with looks that made clint eastwood call her "the most gorgeous face on the planet."

she could whatever she wants. she has chosen to help others and focus on family. she's written a film for the first time called "in the land of blood and honey." here is the trailer. >> i remember things before the battles. just you and me. >> am i a prisoner? >> it's not a prison if you want to be here. >> they should be exterminated. >> it's very complicated.

>> i thought about you. >> she will bebe tray you. she's not to be trusted. >> don't make a mistake.

>> i am not what you make me into be. >> then we'll have nothing to fear. >> rose: i am pleased to have angelina jolieack at this table. welcome. >> thank you. >> rose: good to see you. >> good to be back. >> rose: you said here... this is the cover of "vanity fair." you talk about "i've never felt so exposed." how does directing make you feel so exposed? >> well, it's the writing as well. i've spent my whole life with somebody else's words in my mouth when it comes to film and these are my words and i can't blame anything on the director or the final edit and it's all me and i feel very, very responsible. it's also my... it's not my

politics but... it's not a political movie but it does have politics in it and it's a side of politics and the world that i focus on, that i care about so it's very much me. it's the project that is the most me and where my heart is: >> and why is that? why is it the thing that's closest to you in your heart when you look at the world today? >> well, i've hadhe good fortune of being allowed to travel the last 10 years a to work with people in the feel and to go to many different places and i've had an education that has shape my life from the first time to cambodia to my firswar zone in sierra leone and i'veeen allowed topend me and really, really get to know people in post-conflict siations and conflict situations andomething tt i don't get to do as an actress and i feel very lucky that they allowed me and trust med to enter this world. >> rose: it does give you a sense to see... to understand what the rest of the world's

like and that there are people who are involved in circumstances noof their own making that have brought a huge amount of suffering. >> and it's the majority of the world suffers. >> rose: but there's something that put you on that track of being curious and wanting to know and go for yourself and see what was happening? >> yes, well, when i started to travel, i started to quickly realize how much i didn't know. when i went to cambodia i was shocked at how much i didn't know and then when i started to research and... you open your mind and you realize how much there is that is... that you are sheltered from, especially growing up in america. you have... there are wonderful news programs like your own and there's so much but there's a lot that's... and bosnia is a perfect example of it. we went through years of this war really not being told what was going on. no matter how strongly the reporters were fighting to get

the informationut we... we did not... we were not pushed and inspired in a way. the american people did not understand the full gravity of what was actually happening. >> rose: and what was at stake. >> and what was at stake. rose: and the consequences of not acting. >> that's right. >> rose: whole sense that was said, you know, history will judge bad if we do no.. if we look the other way. >> but we did. >> rose: but we did. until we finally came to the realization that we had to change. this film. soou set about to go there and to write it and to write a story. what was the story you wanted to write? because you have a love story here, but you also have a broader story about a place and a time and all those emotions that are part of that. >> i didn't intend on making a movie. i didn't intend on ever directing. i just sat down as kind of a

meditation. i'd written journals or on edz and thought well, i work in film maybe this is a way of expressing a narrative. i was very frustrated with lack of intervention. i was very frustrated to try to understand so many people i met i thought oh,f we could just have gotten there sooner this wouldn't have happened. if we could have just... what can we do? so i wanted to write a story that would showeople that as you're watching it you're sitting there hoping for something to stop this and you're watching all these different people's sisters, mothers, fathers and sons, children and you're watching all these human beings and human beings you can relate to, i hope. and you watch what happens to them over the course of these years and how decent, relateable people become people you cannot understand and so primal and so violent and so... and neighbors kill each other and people are forever damaged and how does

that happen? and so i would hope it would bring t the responsibility to remember bosnia, learn from it, and understand the importance of intervention. >> rose: tell me the story. >> the storyline is... it starts with sisters and this couple and it starts with bosnia before the war. and we tried to show in a very tight period of time but we tried to show the life of this part of the world, the former yugoslavia is such an extraordinarily special part of the world. the artistry, the music, the life. so we wanted to show that. and then in a moment the war starts. and then months later and as the... well, not even months later, immediately it escalated and very quickly it started... two people started to get pulled apart and it was i thinkhat people will see in it is that the serbian army was very... it

wasn't a haphazard kind of... it was a very organized army and they... it was very quickly... people were quickly divided and there was... >> rose: genocide. >> and there was nocide and it happened. it happened systematically and quickly. and then during the course of the war all ses took part. there are 161 people in the i.c.q.y. and they're not all serbian, they're mostly serbian. there are people from all sides. people... what happened to these people, these people that lived... these people that intermarried, these people that loved each other and were neighbors, what happened and was what does war do to people. so it's universal. it's happening today. it's happening today around the world. >> rose: do you have some sense of what the power of film might be? >> i hope with this film that it isn't just a reminder of this

time in history. but i hope also... i hope people get to know this part of the world and they get to know people from this part of the world and they relate to them and they feel a kinship to them because i feel that's important and i think film can do that. we could send strong messages. but this film in particular i wanted people to relate and feel... and care and connect and i think these actors are extraordinary they deal that. >> rose: many actors from the region? >> all actors are from the region and that was part of the thought behind it. i wrote to script and sent it to actors from serbia, from belgrade, serbia, croatia, bosnian serbs, bosnian muslims and i thought if i can get all of them to agree on one story and we can all agree to do this together than that in itself will be something and they did and came together as a family and that's so symbolic of what

we all hope for the future of that region. >> rose: since you have done this and because this is such a powerful subject and because people understand all the pain that has been suffer there, what was your confirming or ratifying person who said when you were out there and you're swimming alone and you're in the deep end trying torite a script for the first time and... who said to you this is goo, keep going, keep going. >> i didn't show it to anybody for a long me. >> rose: notad, no one? >> i eventually showed it to brad because it was sitting on my desk and it was a funny project that nobody saw. so i sent it with him. he had to do two days of press in japan and he wrote me an e-mail and said "i read your script and finished it and it's pretty good, honey." >> rose: you should be prou >> he said it was... he was very supportive. but i don't think it crossed either one of our minds that it

was then still going to become an actual film. it's still training for me... it's still strange that it's a film. >> rose: why? >> i never said i want to be a film maker. >> rose: you had a story you wanted to tell. >> and i had this great excuse in making a movie was my chance to learn about a region and be friend freedom the area and have this experience. so it was my great life lesson that i could have this education have this time and i loved the experience of it and i love this cast and i learned so much. and in the process it became a film but i'm still very shy about being a film a.k.-47er. that wasn't the intention. >> rose: d you at any point say "my god, i made a mistake, i'm over my head"? >> i did. >> rose: and how do you get up and say, no, i'm going to do another day? >> because the cast, as i said... >> rose: because they wanted to see it? >> because they wanted to see it happen because they said it was

important and because they lived so if i felt the tension i... they take this movie back to their own country and stand by it and they have to feel... so they're brave enough to try for something then who am i not to stand with them and they always... and i felt that they were always guiding this. i said i'm worried are we lancing this right? knew had to ask that question everyday and everyday i was worried and everyday i would make sure we were trying to find the balance and i was never sure we did. but i knew always that my intention was in the right place. and the cast said... you know, even when we had complications and you know this region so well they said welcome to the region. >> rose: exactly. >> there's no way you can skate through this without controversy and a lot of pressure and sensitivity. this is a complicated, deeply

passionate part of the world and it's going to be heavy. >> rose: but you feel like that about several parts of the world. you feel that way about cambodia. you feel that way certainly about parts of africa. you feel that way about the united states. the you have represented and i guess your u.n. affiliation is part of that is in a sense becoming a citizen of the world. becoming someone who understands that we are, in fact, one. >> we are. yes. >> rose: what is that in you that in this sense of always... this... as long as i've known you when you first sat at this table years ago and the respect that we've had, there is a sense that you... there's somehow... something about you that is prepared to find out on ur own wi what some experience is out. you want to know for yourself what it's like i do. i think... i think we all do.

i've been so fortunate that as i said i was able to... i had a mother that told me, you know, she loved me and encouraged me to try anything. and i've had a chance to travel the world and i've been allowed in and people who work on these issues in the field... i was very shy. i didn't want to get anybody's way. doctors without borders, u.n. workers, i didn't want to get in anybody's way. i didn't know what to do. >> rose: and you didn't want to seem like some movie star dropping in. >> and i didn't want to put a negative spin on their work. i didn't wanthem tobe attached to somebody that made their work seeess serious. but they always educated me. i'm so grateful. whether it be u.n. officials or refugees or people like yourself who were willing to talk to me and give me that education and

talk to me straight and talk to me as an adult and not... and allow to learn and so i continue to try to learn. >> i also believe-- this is me being a psychologist. i always believe that who you... or the sense of adventure that you had and the sense of you would let no one define who you were in your public or private conduct, that that's been an engine for you that's served you well and continues to serve you well. >> well, thank you. >> rose: do you agree with that? >> yeah, i do. i do. >> rose: it's a wildness, an adventure, a sense of this is who i am and i'll channel this in lots of different ways. >> and maybe it's that little punk in me that's like you can all come against me but i'm ing to fight for what i believe is right even if we're going to get into it. >> others ask about you and you've heard this before, how

does she do it all? how does she, an actress, international celebrity, humanitarian and now filmmaker and most importantly a companion and a mother. how do you do all that? what's the... >> well, i have a great partner in brad. >> rose: right. >> and we talked a long time ago about how to balan this life and knowing the dange of working in this field and this business and just the stresses of normal life anyway. bu we made a decision that we would always take turns working. that we would always travel with each other. that we would never separate for months while one of us is having an adventure being away from the children and the other is sitting home with the children. we decided the only way we're going to be able to do this with this many children and we have the good fortune to be able to make this choice in our career is that we stay together and we experience life together and we raise this together so we're in

new york together with the children. >> rose: people are here celebrating as well. >> when i shot this film he was... i was with him when he schotz "moneyball" then it was over and we moved together to shoot "in the land of blood and honey" and he would bring the kids to set and just... so i don't do it all all the time. i do some things part of the time and the other part of the time i'm just at home being a m and then for six months or however many months i go to work but i've got a grea man who lps me and supports me and the children are part of my work. >> re: are your ambitions changing at small >> my ambition has always been to be of use and to feel like i'm doing rit things with my life. i don't want to be more success i don't wantore money.

i want my kids to be healthy and i have great family and i want them to be great people. that's my ambition. and along the way if i can be a part of things in life that i think are important and subject matters i think are important or even be a part sometimes of the solution for these big issues that concern me than that's wonderful and that makes me feel of value. bufirst i want to make sure i've got... i'm raising children right. >> rose: do you think that this is the first step in becoming what everybody calls a filmmaker that you will find something in this process that you want to be able to-- as the aforementioned clint eastwood is and sevel other people-- have been uniquely able to master this in a way that they can tell their own stories. is that they can become truly a film maker in every sense of the

board? are you heading in that direction or is it too early to tell? >> you know, i'm sth even call myself a filmmaker now. i did this because i loved the subject matter and i felt compelled to do it. not as a filmmaker but i ended up as a filmmaker because of it. so ion't know if i'll end up feeling that compell to tell a story in that way and i'll meet some of them... the cast, this is such an unusual situation for me. i met these actors and this family and they lived through the war and some of them were soldiers during the war, some were children during the war, they were wounded during the war and they taught me and they led me through this and we did this together. so it's a family that made this