like the pale unanimous "pan's labyrinth." it was an idea 10 years before pan's labyrinth. then it evolved. >> rose: let me see your notebook. this feels like it's classic. >> it is. i bought them in '98 in a tour of venice with meara sorvino doing "mimic" and i found this guy that that did these notebooks by hand ai bought seven of them and filled three of them. i think a couple are going to stay vacant. can i show you one that i love? >> rose: yes, please. >> i think you may like this one. this is one of the -- >> rose: describe this to me. >> it's the girl in "the main flash back of "pacific rim." it's a moment that started the whole movie for me when i understood that the girl as a kid had lost her heart and i symbolized it with a little red shoe in her hand and that's when i understood the movie. this is one of the first images i drew of "pacific rim." not a giant robot be but a little girl with a red shoe. >> rose: and what are you writing here? >> i write ideas. i can be writing about several projects at once. i can be writing a piece of dialogue that i heard somewhe

in pans pale man labyrinth the first time i drew him was 10 years ago. >> may i?s even feels like it is classic. >> it is. withght them on a tour minas sorvino. i think a couple of them are going to stay vacant. can i show you one that i like? >> described this to me. >> it is the flashback. it is the woman when i understood the girl had lost her heart. it symbolizes with the little shoe in her hand. that is one of the first images. not a giant monster or a giant robot but the little girl with a red shoe. what do you write? >> i can be writing several things at once. a novel writing about that i read or a movie that i saw or a piece of music. intimate been quite diaries. >> mostly spanish? >> it depends on the project. i keep a little book. it is sort of low-tech. did.s stuff that i already >> what is the nature of a monster? >> a monster is something above or extra of nature. is you can make a monster of natural forms, but you have to magnify it in no way. a monster is something that represents something. or a dragon,ampire or it can simply be a force of nature.

the ark never left but was instead hidden away in this undergrowth labyrinth.ink it remained in jerusalem? >> yes. one thing we know is that one of the kings put it somewhere in the tunnels. >> a tunnel like this? >> nobody knows. >> is there any evidence of this ark? >> no evidence at all. only many stories around. >> if only these walls could speak. they do, however, appear almost to weep. and their tears are said to tell a powerful story about the destruction of jerusalem. >> the name of this corner is the tears of the king. >> he was the last king of the tears. >> tears for the destruction of the temple? >> yes. destruction of the nation. this was the end of the first temple period. >> do we think these tears, this mineral spring has been running since then? >> well, i think it's running since many, many years. for sure it's more than 2,000 years old. >> and it's really interesting. because there are people here. there are people all over the place. it's still a living, breathing place. which allows the people who visit to connect with their spiritual herit

that was a labyrinth, going through that. it took a while for me to come around to this one. and again -- >> to this story. >> because what happens is that it is not like we're going to make another film right away. the atmosphere, we have to agree upon the tone. we have to be in the same city, so to speak. >> and you get that by conversations? about the movie you want to make. >> conversations. the problem with a film like this is that you can't, there is no sense, especially at my age, going into the situation with a group of people who are going to, a studio where they're going to say there is too much drug taking or too much sex. at this point, it is no sense in me making the film because i would just be constantly distracted by the levels of restrictions. i can't do it. you get to the phone, you get to the door. there is no sense in it because there is only so many breaths you can take. >> that's exactly right. so why do it. >> they made it possible for us to make the movie. >> that could do what you need. >> the freedom. it all worked. it all goes right through the mpaa

the ark never left but was hidden away in this undergrowth labyrinth. >> one of the kings put it somewhereunnels. >> a tunnel like this? >> nobody knows. >> is there any evidence of this ark? >> no evidence at all. only many stories around. >> if only these walls could speak. they do, however, appear almost to weep. and their tears are said to tell a powerful story about the destruction of jerusalem. >> the name of this corner is the tears of the king. >> tears for the destruction of the temple. >> yes. destruction of the nation. this was the end of the first temple period. >> do we think these tears, this mineral spring has been running since then? >> well, i think it's running since many, many years. for sure it's more than 2,000 years old. >> and it's really interesting. because there are people here. there are people all over the place. it's still a living, breathing place. which allows the people who visit to connect with their spiritual heritage. >> it's important for us to touch the history of this place. and to feel this energy. it makes understand cleaner. >> pure. >> pure. >> in

how do we get out from this labyrinth? >> well, i think this is going to have to happen in stages.t here's what i know from my visits to israel, my visits to the west bank. there are people of goodwill on both sides that recognize the status quo is not sustainable over the long term, and as a consequence, it is in the interests of both the israelis and palestinians to resolve this issue. there are young people, teenagers that i met both in israel and in the palestinian territories that want to get out from under this history and seek a future that is fundamentally different for them. and so if, in fact, we can create a pathway to peace, even if initially it's restricted to the west bank, if there is a model where young palestinians in gaza are looking and seeing that in the west bank palestinians are able to live in dignity, with self- determination, and suddenly their economy is booming and trade is taking place because they have created an environment in which israel is confident about its security and a lot of the old barriers to commerce and educational exchange and all that ha

and so we found -- that was a labyrinth going through that. but it took a while for me to come around to this one and again that's not necessarily -- >> rose: coming tooshd -- >> to this story, "the wolf of wall street." because what happens is that it isn't like we'll make another film together right away. it's this the atmosphere, the -- the tone of it has to be -- we have to agree upon that. we have to be ine same -- from the same city, so to speak. >> rose: and you get that by conversations about the movie that you want to make? >> conversations. and you know the problem with the film like this is that you can't $'s no sense, especially at my age going into a situation with a group of people who will going to -- let's say, you know, a studio situation where they're going to say there's maybe too much drug taking, there's too much sex. at this point there's no sense in me making the film because then i would just be constantly distracted by the levels of restrictions. >> rose: yeah. and you want no part of that. >> i can't do it. >> rose: (

the ark never left but was instead hidden away in this underground labyrinth. >> so you think it remained bible another thing. one of the kings put it somewhere in the tunnels. >> a tunnel like this? >> nobody knows. >> is there any evidence of this -- >> no evidence. no evidence at all. only many stories around. >> reporter: if only these walls could speak. they do, however, appear almost to weep. and their tears are said to tell a powerful story about the destruction of jerusalem. >> the name of this corner is tzedakiah's tears. >> tears of the king. >> the tears of the king. tzedakiah was the last king of judea. >> tears for the destruction of the temple. >> the nation. this was the end of the first temple period. >> do we think that these tears, this mineral spring, has been running since then? >> well, i think it's running since many, many years. for sure it's more than 2,000 years old. >> and it's really interesting because look, there are people here, there are people all over the place. it's still a living, breathing place. >> reporter: which allows the people who visit to connect

how do we get out from this labyrinth? >> well, i think this is going to have to happen in stages. but here's what i know from my visits to israel, my visits to the west bank -- there are people of goodwill on both sides that recognize the status quo is not sustainable over the long term, and as a consequence, it is in the interests of both the israelis and palestinians to resolve this issue. there are young people, teenagers that i met both in israel and in the palestinian territories that want to get out from under this history and seek a future that is fundamentally different for them. and so if, in fact, we can create a pathway to peace, even if initially it's restricted to the west bank, if there is a model where young palestinians in gaza are looking and seeing that in the west bank palestinians are able to live in dignity, with self- determination, and suddenly their economy is booming and trade is taking place because they have created an environment in which israel is confident about its security and a lot of the old barriers to commerce and educational exchange and all th

how do we get out from this labyrinth? >> well, i think this is going to have to happen in stages.t here's what i know from my visits to israel, my visits to the west bank -- there are people of goodwill on both sides that recognize the status quo is not sustainable over the long term, and as a consequence, it is in the interests of both the israelis and palestinians to resolve this issue. there are young people, teenagers that i met both in israel and in the palestinian territories that want to get out from under this history and seek a future that is fundamentally different for them. and so if, in fact, we can create a pathway to peace, even if initially it's restricted to the west bank, if there is a model where young palestinians in gaza are looking and seeing that in the west bank palestinians are able to live in dignity, with self- determination, and suddenly their economy is booming and trade is taking place because they have created an environment in which israel is confident about its security and a lot of the old barriers to commerce and educational exchange and all that