good evening.even fro trent reznor, founder of nine inch nails. the band announced they will not longer tour last year. it gave him time to compose the score for a the big film "the social network". sally hawkins is here. her film is called "made in dagenham". >> all i know is his name is james, and he needs extra help

with his reading. >> i am james. >> yes. >> to everyone making a difference -- >> thank you. >> you help us all live better. >> nationwide insurance supports tavis smiley. with every question and every answer, nationwide insurance is proud to join tavis in working to improve financial literacy and remove obstacles to economic empowerment, one conversation at a time. >> nationwide is on your side >> and by contributions to your pbs station from viewers like you. thank you. [captioning made possible by kcet public television] captioned by the national captioning institute --www.ncicap.org-- tavis: trent reznor is the front man for one of rock's morse popular groups, most popular

groups, nine inch nails. this year, trent is a golden globe nominee for his work on the original score for "the social network". here a scene from "the social network". >> do you think i deserve your full attention? >> i have a legal obligation to say no. >> you do not think i deserve your attention? >> i think that if your clients want to sit here and sit on my shoulders and be tall, they can. you have the minimum attention. the rest of my intention is back at the offices of facebook. did i adequately answer your condescending question?

tavis: wow. so rock stars composing original film scores. there was a time when this was not the coolest thing to do in hollywood. now you are cranking these things out. how did you get pulled in? >> i'd decided to take some time off from my day job at nine inch nails, take some time to think about what was next, get out of the grind of touring and get back to what drove me to make music in the first place and think about that. of the blue got a call from david fincher, and he asked me if i was interested in scoring "the social network". i had not planned on that. the opportunity came up, and it was something i have always been interested in. i love the medium of film. i thought it would be interesting to see if i could take my set of tools and apply

it to a new medium. tavis: euskera to it -- you get the script for. >> and then i said no. to be clear, it was not because of the script. i had just gotten off the road, i had just gotten married. i made a promise that i would take a year to plan my next move. this came up. it is difficult for me to say no when something interesting pops up. the reality of it is, like i've found in my life, if i am taurine, my brain is in a mode where it is usually executing -- if i am touring. you are not creating so much. it is an execution phase. this came up right at that juncture where i thought, here is an opportunity to work with somebody i really respect in any medium. i do not want to mess it up. and i really did not have the confidence at that time. i felt like, i do not want to

bite off the next year of my life doing something i did not know how to do. it was nnot the material, and it was not dated. was me. that was the end of last year. a couple months went by. i'm feeling good about my abilities. i felt really bad about how i left it with the david. i felt bad making the call and say, i have to pass. i got back in touch and said, i want to reiterate, it is not you or the material, but i was not in a place where i thought i could do it, but keep in mind -- keep me in mind. he said, come on over. it is still available. tavis: for someone who is as if it is you are, how you make that transition from feeling undercounted to a point you arrive at where you say, i can

do this? what makes the difference? >> if i look back of my career, our first record came out at the tail end of 1989. there are big gaps between records. if i look back, i could see that those gaps or fear. -- were fear. i thought the act of writing was terrifying, and self examination was a close-up mirror. that is what nine inch nails is based on. i found myself constantly questioning if i'm good enough to do it. it stressed things out to a -- things took a long time in the 1990's, for me to get my act together. jump ahead to this past decade, and i got sober, and i worked on myself, and i put the act of creativity -- it became

something i looked forward to instead of driving. i went into projects and thinking, i will give it my best. that, as opposed to staring at a blank page and say you have to write the best thing ever. that is a guaranteed way to make sure the page stays blank. with that confidence, i came into this situation. thedone some work at beginning of this year i thought was good. i thought i was getting back to being -- things were lining up. if i was going to take on a new project with a new medium, i would approach it with humility, and try to strategizing in how to make the best thing i could possibly make. tavis: you said something that i found interesting. when you said you look back on your career and you see those? as gaps of fear -- those gaps as gaps of feaer.

r. is there a link of this -- and the fear and a lack of sobriety? >> certain. i can armchair analyze myself, but at the time when things presented themselves to me, i was not a point in my own life or are was equipped to deal with it. and i had a built-in sense of not being good enough that i carry with me from whatever it came from. the easy way to fit in was to sell its medicaid. after a while, sells medication started to stifle any thing that i had, any creative ability. that lent itself to a place where i was -- i had to get better. i hated who i had become. taking the process seriously, and watching the efforts of that come to be, is why i can put up more material know, because i feel better about it. i do not go into it with all

this baggage. 20 years into making music and making a living at music, and feeling fortunate, this whole thing with the soundtrack has been a breath of fresh air. it is an all real reinvention, and exciting. tavis: when you finally got around to telling david you're going to do this and you got into the process of doing it, what made you think that your unique gift, the sounds you had in your head would work for this particular film? i can see you being turned on by trying something in a new genre, but what made this particular film, "the social network", something he thought he could match a sound too? >> david pursued me. i have great respect for david. i thought he must see something in there that is matching his vision. it was different for me because in the world of nine inch nails or how to destroy angels -- was

that i'm at the top of pyramid makaining the call. it was interesting to work for something else occurred my music was in a supporting role -- my music was in a supporting role. i just thought i would try to get into david's head and best figure out what he wanted from it. shoot around the target. the process happened pretty quickly on this film. tavis: have you been bitten by the bug to do this again, even though you had great trepidation at the outset? >> experience i had has been unmatched. the respect i got from filmmakers, the people in the studio, the producers, has been such a good experience.

creatively, it was interesting, and also, just dealing with smart people with a common goal. it was a fun process. and also, to be frank, seeing the accolades coming in, to be involved of a project of this caliber was a great experience. there is nowhere to go but down from here. tavis: trent is walking all around my question. you are explaining how great it is. i can take that one of two ways. that he did not ever want to do it again, or you are happy to do it again. >> i would be interested in pushing myself a bed, getting outside of my comfort zone in terms of the way that we score this. something was familiar -- the sounds, the clay i sculpted this tretch.s not a big sc i would be interested to see what would happen if the process were different. tavis: you've won some major

awards during awards season you are already on -- the buzz is on you and the project. since you mentioned accolades, how does this kind of a claim for writing this court compared with the acclaim that he received for nine inch nails? >> that is a good question. i think back, why i feel it's a good question, in the last few months since the film came out, i realize that the praise for the film and our work in the film has more to me for some reason. for years being in the music business, it is hard not to come out the other end jaded and cynical. from my perspective, in the film world, some of the accolades really resonate with a sense of

importance. and the music side of things, whether it be -- it does not mean as much. i think a lot of what has happened in the music business has been decimated by the internet. critics voice is not is booming as it may once have been. people are looking and finding things or other means. they are not all pointed to one channel. that has trickled down into the integrity of the music business. if the war is affiliated with the music business feel less about the award -- the awards affiliated with the music business feel less about the award. it feels good to see what is happening with the film right now. tavis: that is a very good and diplomatic answer. i appreciate that on both fronts. trent reznor is the guy behind

the original score for "the social network". he and his project getting a whole lot of buzz right now. congratulations on all of the success. up next, golden globe winning actress sally hawkins. stay with us. tavis: sally hawkins is a golden globe winning actress whose film credits include "happy-go-lucky" and "an education". her latest film, "made in dagenham", is based on a real- life factory worker. >> they will have a field day. it is not going to be easy. >> what is it worth fighting for? >> pretend to work. go back to your machines and you have my word, i will push forward with your fight.

>> i need something solid, something now. you've got the authority. without seeing you -- >> in politics, you sometimes have to play the long game. tavis: in hollywood pitch meetings you have to make a comparison when you are trying to sell a new project, so this as a norm orae-ish comparison. >> i think that is a huge compliment. i made a point of not seeing the film until we had finished, because i knew there was a similarity. the working circumstances, and it is about workers' rights and the factory. it's hugely flattering. tavis: tell me more about the

story line. >> in 1968, it actually happened. these women in the ford plant, east london. they went on strike. they were campaigning for equal rights, to be regraded as skilled workers. they were getting a tiny percentage of the male presented. they were being paid less than the boys at the factory. it was about their -- when we introduce the film, it is the beginning of that unrest in the factory. , and their fight -- across the world. also having an effect in the u.s., and the u.s. getting involved.

and the workers on the ground level -- sor tt of start to peel away. it comes crumbling down. the whole plant came to a halt. tavis: are you attracted to a role like this first as a woman or because you are woman, or because you are an actor and you saw a wonderful, complex story line or a combination? >> that is a very interesting question. i think it is probably a combination of both. you sort of response. you cannot help but respond as a woman at. and the issues that have been brought up that we are still dealing with today, sadly, and probably will for a long time. it just can't help but, touches something quite profound in you. but i think, there are so many

different levels you respond to it in a project. they go in tandem with something that has such integrity and truth behind it and when it is based in reality, it gives you -- i find it incredibly exciting. you cannot help but get fired up by that kind of thing. what overtakes more than the other. it is definitely the character and the script, and then discovering, re-discovering history that i was not aware of. tavis: you talk about rediscovering history you were not aware of. i think so many of us take for granted the rights and privileges that we enjoy that have come our way courtesy of working-class people, people

every day who get on their grind to make england a better place to live, to make this country a better place to live. you can tell me if i am right or wrong. i assume you take something away from a project like this that you get a chance to discover. >> absolutely. you cannot help but be affected by it, and become more involved. your world expands in a way. and -- i mean, it's like you say, sort of, where --how we progress in the world. people are out there working incredibly hard at the grassroots. it is a story that speaks to us all. and we recognize those stories today, or we read about them in the past.

they speak directly to us. it is not just dealing with women's issues. is about discrimination. and about human rights. but yes, you sort of -- you do have a responsibility, and you do feel very -- i feel very proud to be representing, speaking to people like you on th iis stage. it is a real privilege and you feel a responsibility. tavis: feeling proud is one thing to represent in this way. did you feel any pressure to represent these women's stories in the film? >> absolutely. you sort of have to let that go when you are in it and deal with the moment and the characterization and make it as real as you can, as rich as

possible. i did feel a slight weight of that responsibility, but i also knew that it was not just on my making a, and wer were project together. it was a great cast, ensemble case of wonderful women, and bob hoskins is our mascot. so, yeah, you do, but you also -- tavis: bob hoskins as a mascot. [laughter] >> he took on that role. tavis: without giving the story line away, what happens to these women's lives? this is a struggle they are engaged in at work. what happens to the women's lives? >> different things. at the end of the day, they went back to work. but this fight, it was the very

beginning of the fight. it spanned 20 years in all. through their work, after what they did and what they stood up for, they got to the houses of parliament, and without them, there would have been no equal rights in the u.k. there were not able to benefit from the equal pay until 20 years later, when they actually got the re-grade. i think it had an effect on who they were and how they saw the world. it cannot help but influence you. youssouf reflected in this script, in this film in a way that rita in her domestic life, and her husband and their relationship. i think that is probably, although that is fictional,

artistic license, i think that was something that was probably happening, sort of happening at the time and could only have an effect in a personal impact, and being able to relate the issues to their personal lives as well. i think it can only make you think about that kind of -- how it affects you in that way. tavis: let me ask you this question. i suspect that when there is a story that is this powerful, a piece of history that so many people are unaware of all these years later, that this particular sense of pride that one takes in being able to bring this story to the forefront. >> so much so. incredibly proud. and to have this kind of

response that -- to a film that is about these issues. it is incredible and important, because we need to keep talking about these things, to keep moving forward and keep progressing. when they are not talked about is when we have to worry. i mean, there are several moments during filming where i was -- overtaken. it does speak to everyone of us. speaks to our core. especially in those moments where lucy is looking out across the sea of seats, the trade union. seeing all those men and here ther e speaking for those women. the effect -- it was, i was in synch with -- at that point -- with riatta at that point.

it is not something you cannot really put in words. it is a basic human right, and there were speaking with that truth. i do. i feel immensely proud. tavis: andy should. i think every thespian wants to do good work. this is a good piece of work. sally hawkins stars in "made in dagenham". congratulations. good to have you on the program. >> it is lovely to be here. tavis: until next time, thanks for tuning in. keep the faith. for more information on today's show, visit tavis smiley at pbs.org tavis: join me next time for our conversation with two-time oscar winner kevin spacey and amy

adams. that is next time. we will see you then. >> all i know is his name is james, and he needs extra help with his reading. >> i am james. >> yes. >> to everyone making a difference -- >> thank you. >> you help us all live better. >> nationwide insurance supports tavis smiley. with every question and every answer, nationwide insurance is proud to join tavis in working to improve financial literacy and remove obstacles to economic empowerment, one conversation at a time. nationwide is on your side. >> and by contributions to your pbs station from viewers like you. thank you. >> be more.

pbs. >> be more. pbs.