arthur brown, noted architect in the city, wanted for a while to build a tower. he had become very interested in persian towers. it was the 1930's. it was all about machinery and sort of this amazing architecture, very powerful architecture. he convinced the rec park commission that building a tower in her memory would be the thing to do with her money. >> it was going to be a wonderful observation place because it was one of the highest hills in the city anywhere and that that was the whole reason why it was built that high and had the elevator access immediately from the beginning as part of its features. >> my fear's studio was just down the street steps. we were in a very small apartment and that was our backyard. when they were preparing the site for the coit tower, there was always a lot of harping and griping about how awful progress was and why they would choose this beautiful pristine area to do them in was a big question. as soon as the coit tower was getting finished and someone put in the idea that it should be used for art, then, all of a sudden, he

and we think back to arthur ashe, jim brown, kareem abdul-jabbar, on and on and on, those guys from theed their power to make a point. and the guys today are almost always silent about everything. they could make a difference. they choose not to. all right. that does it for "the cycle." jonathan is in the chair. >> he is never silent. >> how are you? >> thanks, guys. good afternoon. i'm in for martin bashir. it's friday, july 27th, and here is what is happening. ♪ >> there is a guy called mitt romney who wants to know whether we're ready. >> there are a few things that were disconcerting. >> of course it's easier if you hold an olympic game in the middle of nowhere. >> not precisely what i said. one christmas my sons gave me a box and if you wear this, mom will pay more attention to you. i opened it. it was a rubber horse mask. >> did you wear it? >>. no. >> your taxes, your investments and things like that over the last couple of months, let's make it incredibly transparent so as not to give my opponents any ammunition. why didn't you do that? >> well, we just laid out exactly what is

and we think back to arthur ashe, jim brown, kareem abdul-jabbar, on and on and on, those guys from theed their power to make a point. and the guys today are almost always silent about everything. they could make a difference. they choose not to. all right. that does it for "the cycle." jonathan is in the chair. >> he is never silent. >> how are you? >> thanks, guys. good afternoon.

. >> brown: there's also the constant mix of the art and the industry, the business. >> yes. all of the directors in this book, you mentioned several, arthur penn, alan bakula, it's always this struggle between art and commerce. it's kind of a shotgun marriage of money and art. and altman talks about it that it's hard for him to tuk a studio person to explain a film because he won't understand it until he's seen it. >> brown: people here, i want to say they like talking about their craft. i'm not sure because you can't quite tell from wlrx they wanted to sit down, but they certainly come off as interested in what they're doing or wanting to convey, especially to these younger people, how the craft works. >> and sidney poitier called me and he had read his interview the other morning from los angeles, and he said it so excited me to read in words my theories about what i do. >> brown: another one was steven spielberg, he's talking about, a, thinking that he was going to spend his life making, working in television, and also the story with jaws and about how difficult it was to make. >> he was a young director, he had made sugarlab express a