kushner makes words sing, summer sult as no other living american dram test does. this past year they reminded he was a screenwriter, he wrote the screenplay for lincoln which has been nominated for 12 academy awards including best adapted screenplay. here is the trailer for the film. >> we here highly resolve that these dead shall not have died in vain. that this nation under god shall have eye new birth of freedom that government of the people, by the people, for the people shall not perish from the earth. >> we can't tell our people we can vote yes in abolishing slavery if at the same time we can tell them we are negotiating a peace. >> you cannot have both. >> how many hundreds of thousands have died during your administration. >> hundreds must never declare equal, those who god created unequal. >> leave the constitution alone. >> stepped out on the world stage now. the fate human dignity in our hands. >> now, now, now. >> abraham lincoln has asked us to work with him to accomplish the death of slavery. >> no one's ever been loved is so much by the people. don'

so how do you dram advertise a difference in temperment, you know? i have a friend who gets mad about everything but our lives-- so i had to find that very certainly thing to figure out how to dram advertise it inalways show burr pausing, that was tricky. >> first of all, they're latino. >> they're everything. >> sue who plays my wife, chinese american on that's on purpose. >> that that they're everything. >> yeah it's-- tommee said it so well that i just quote him, this is the story of american then told by america now. >> that's a great line. >> the story of america then, told by america now. >> that's right. >> we're america now. and this is what this country looks like. this is what our country looks like. simple as that. so we're allowed to tell the story. because it's the story of our country too. >> rose: what do you think it means to your actors. >> i have been told what it means to our actors. >> rose: you know your actors. >> i am with them every day. it's very moving. some of these actors i have known my entire adulthood some i just met wh

transcripts which were recorded of people under oath that fact moment where you can see it, it is dram tides, you see the questions, answers building to the fateful question and then you see them cross that line. and to me those are dramatic moments. and i try to put it into a context so that you of course as the reader know when it's happening and at least have some understanding of why they are doing it. >> rose: the new play bengal tiger at the baghdad zoo, alexandra styron and james stewart when we continue. >> funding for charlie rose was provided by the following: ory neaa l acacrossmeririca.pt@sta hoywo, evertimeme a ststis b burne t mididnighoill hen aethone chasdl for r a re herero,so iyou u want pporort sml bubusine. >> rose: additional funding provided by these founders: captioning sponsored by rose communications from our studios in new york city, this is charlie rose. >> rose: robin williams is back at the table. he makes his broadway acting deput in bengal tiger, set in baghdad in the early months of the iraq war, the play features william as a tiger. here is a look. >> a

the fact that i'm internatnal, makes it a bit dram at call, but so many writers have suffered so much in military coups. and it was again low understanding, i don't want to complain. i don't want to say that you know, this happened, that happened. i look to the future. i write my books. i do my museum. i create conditions that would be good for my writing and creativity. >> rose: but what you talked about were the kurds and armenians. everybody talks about the kurds and the armenns. >> those issues are whe people talk about them, much more relaxed. >> rose: do you think the arab spring will come to turkey? >> turkey don't need the arab spring. in the end, arab spring, there was not even a voting process. just because you have a voting box doesn't mean you have democracy. arab spring, at least we are hoping that there will be some vong and government change through voting. that doesn'tean demracy. because you have to have also free speech along with it. >> rose: when you go back to this country k you know, you find no problem with it reaching out backing more engagedith the islamic wor

>> because it gets you to put him on the stage again in terms of the dram you are the ji of the profileyour guy out into the light but it has him with a human saying making sure he doesn't forget where he is you reach a certain age and you don't know where your keys are and you can't remember your person's name at the dinner. springsteen has taken steps to ensure he doesn't do that. >> rose: and he uses teleprompters as many performers do. >> after that show i stayed... usually i was to the side or in the stands. landau brought me on to the stage for the end of one of these bars low that shows and i have never seen anybody come off of a basketball court or anything more drenched. he was sweatier and more spent than lebron james. >> rose: that is his salvation, i believe. >> you you bet. and he was happy, lit up. >> rose: he believe he owes them that. if he doesn't give them that he's not satisfied >> and it's changed. when he used to give these long, long concerts as a young, unhappy, confused, fertile febrile performer he was burning himself out. he was deliberately burning the excess

. >> i thi the reason migration is an attctive story is it has a built in dram a beginning, middlend end. and it has a big trajectory. >> charlie: a also acptance and searchi for connections? >>dentity. >> charlie: right. >> enomic striving, uncertainty. all the things tt go int assic ingredients of novels. and also there's ready-made community at certain point for these novels because you kw, glish langue readers always hungry for new information. so eitr let's s you're a korean amecan and you write a novel which reflectsthe korea american iigration experience. you are going to be the american korean community and t larger community which is always hungry for fresh rspectives, fresh informatn. and immigrati represents an injection o news of novelty. chaie: do they primaly become absorbed by being american, but never delop a lationship to other immigrant mmunities? >> thatoften happens. i mean look at -- i'm jus talking about the communities i'm aware of. african immigrants can snd their spire lives here not essentiay tking to african amerans. whereas theye lumped together in the sta

you just cat inhab the beginnin and we had dram school exercis that concentrated entirely on th verysomething that's obviously going to comep in drama. what happens when the big surprise hits? what happens when you're... you mit start a scene in a state of despairnd something happens to completely brighten everything up. how do you ge from one to the other? and i think sternly the way i was trained, whh , you know, to put it very, very simply would be stanislavsky tt you exvate as deeply a you possibly cano that you are ready to react as that character atny point. i wasn't pticularly aware of doing that. i didn't go methody on it. i didn'tpend theay... >> rose: methody. (laughs) >> i just senate a chair and tom inted acamera and there w st something about the way he communicates the to that pu all on the same page. whether it was the grips or the electricians or whever. we all someh were in the same world. >> rose: here what t ford said about your character. roll tape. >> this is a charact who is holdinghimself together by his outer world. his outer world and his inner world are link

this extraordinary story was dram typessed in the film argo released earlier this year, i am please to do have him at this table to talk about his life as an ambassador and a movie which is lionized a role he plod so thank you for coming. >> thank you. >> rose: tell me about the events and what you saw and what it was like that day. when the iranian students and others stormed the american embassy. >> well quite frankly it didn't come as a great surprise. you may recall the american embassy, u.s. embassy was taken over, ambassador bill souterland was there at the time. but the response was quick. a senior person at the foreign ministry brought some troops and the embassy was cleared in three days. but there was no law and order at the time in tehran. it was still a chaotic revolution restate. there was no judicial process and the embassies looked after themselves. but when the u.s. embassy was taken over, we thought that because of the previous scenario, that it's going to be three or four days and the message had been sent, that is that the u.s. is vulnerable, that the iranians are ve

anher dram of course is that kemal, character, whois in some pects i feel affinity to --n fact is headilylove but yes, this ovel, beside being a sort of a picture of turkish society between 1974 to end of the lastenturys a picture of a man who is infatuat by love. at one point in thestory,y charter realizes that ve -- his love pains of not seeing her enough, ani think this is the gravest of all ve pains you know, there are ny signs to love pain if he h object, something, a relic, asign, a photo or even a lighter or a salt shakerhat reminds him of the bes tes, then his love pain decreases, so he begins collect objects that remind him o their best times, and ts takes some eight years and in the end he has a collecon. he converts this to exhibit the collecti in a museum and the book we're readin is sort of an notated catalog ofhat museum, bui don't want this to scare e readers. you can read this novel as a tritional novel too. t the story is tdhrough objects which remi in a proustian fashion the past it's the idea of tt proust. we take somethin our -- we taste somethin our ttacles are open,

the great protestant theologian once said the people for good with makes dram see available and the need for evil makes it necessary. there's social custom often determines how we behave. the capability for good is the predominant built-in mode but we can be corrupted. >> charlie: corrupted by. >> by social pressure, by all kinds of constraints that society has or by lack of resources. >> as you say, if you see someone in pain you feel pain. but if you see someone angry, you start to feel defensive, good behavior with positive behavior in yourself or problematic behavior in yourself. >> one point i want to high light is that a lot of the mechanisms that we're talking about with for social perception can be used for good. so i can try to understand other people's intentions because i want to help them and we hope that most of the time that's what's going on. but these very same mechanisms are extremely powerful if i want to compete with them. so the car dealership and you're trying to stare down the dealer and figure out the best price in the car. do you see in middle school, for example,