you know, my dad's, like, "well, okay, now i'll introduce you to erroll garner." yeah, man, i started to think this is hard, i'm in for some serious education right now, and i got a long haul, because it's not easy. boot: there's not many things you can find in this world that are not mass-produced. we make about a little over 2,000 pianos a year. where other companies are making 100 pianos a day. the thing about technology and other factories, and the way the world's moving, it's not as easy to get someone on an assembly line with metal arms to touch up a string, or to feel the lightness of the weight as you got to balance it and give it its proper height and proper touch -- you're not gonna get that from a piece of metal. aimard: all this process of multiplying things has not been made always with a respect for hand craftsmanship. and we have lost so much. so we have to try to combine this modernity and traditions. and seeing beautiful human gesture, and human body taking time for the love of the object, or of realizing something is, of course, incomparable. [ p

. >> to errol jones, reporter, he was in court when he appeared in court. he is there at the police station joining us tonight. al, i understand that immediately after this story happened, after this really kidnap and murder went down, yale issues a policy about zero tolerance of harassment in the workplace. now i'm hearing reports that for a long time this guy's been a "control freak," driving everybody crazy, and now we find out about repeated text messages to the 90-pound victim about how she cleaned the mice cages? >> yeah. we're hearing a little bit of conflicting information on that. you have the story from investigators who paint raymond clark as someone who guarded his turf very jealously. that basement lab area was his area and he felt like he was in control of it. he became very irritated when researchers would leave a mess. >> hold on. al, i'm having a really hard time hearing you. let me go quickly to jean casarez. jean, do you know anything about this alleged motive? >> well, i think they're saying they're not the sure of the motive. if you loo

errol morris, who produces an explicit, stylized movies. he is one of my heroes.we noticed the way in which the whole landscape in the -- the documentary landscape in the last 20 years has been changed and transformed. the rest of our environment -- i invite you to come up to the studios in new hampshire to see lots of young, talented filmmakers who are trying to make a go of it. >> what time of year is that invitation? >> i am away on the road an awful lot, so i hope to be able to introduce you personally, but you'll just have to take pot luck if i'm not there. >> share with our audience both on c-span and here at the national press club, was the most painful scene in this documentary that you had to leave on the cutting room floor and why did you let it go? [laughter] >> i have ice water running through my veins. there is no scene on the cutting room floor that for me i agonize about. the question though, that you have asked, should have been directed at dayton duncan. [laughter] he just assured me the question did not come from him. what happens, invariably, is

. >> to errol jones, reporter, he was in court when he appeared in court. he is there at the police station joining us tonight. al, i understand that immediately after this story happened, after this really kidnap an murder went down, yale issues a policy about zero tolerance of harassment in the workplace. now i'm hearing reports that for a long time this guy's been a "control freak," driving everybody crazy, and now we find out about repeated text messages to the 90-pound victim about how she cleaned the mice cages? >> yeah. we're hearing a little bit of conflicting information on that. you have the story from investigators who paint raymond clark as someone who guarded his turf very jealously. that basement lab area was his area and he felt like he was in control of it. he became very irritated when researchers would leave a mess. >> hold on. al, i'm having a really hard time hearing you. let me go quickly to jean casarez. jean, do you know anything about this alleged motive? p. >> well, i think they're saying they're not the sure of the motive. if you l

thank you, errol, thank you, miguel. >>> up next, heroes. anyone can prove they're strong once.l question is can they prove it again and again. ♪ at northwestern mutual, we've answered that question compellingly... for over 150 years. northwestern mutual. consistency counts. put our strength to work for you. learn how at northwesternmutual.com. sfx: coin drop, can shaking when you own a business, saving sounds good. so hear this: regions makes it simple to save money and time with lifegreen checking and savings for business, free convenient e-services and regions quick deposit, so you can deposit checks right from your desk. so switch to regions and start saving. plus, get a business financial review through a regions cashcor analysis. it's how business gets into the rhythm of saving. regions - it's time to expect more. >>> and now "heroes," our tribute each week to the men and women that serve this country in uniform. tonight we honor army specialist luke murphy, a young soldier who showed extraordinary courage serving in afghanistan. >> reporter: luke murphy married his high s

. >> roesler: errol flynn-- of course, robin hood-- natalie wood. >> kroft: stroll down hollywood boulevardpoint out 62 of his clients who are immortalized with their own stars on the walk of fame. >> roesler: gloria swanson, marilyn monroe... >> kroft: his client list includes some of the biggest names of the 20th century-- actresses like ingrid bergman and bette davis, baseball legends babe ruth and lou gerhig, singers ella fitzgerald and billie holiday, who all have one thing in common besides their greatness. >> roesler: we're a business agent for about 250 entertainment, sports, music and historical clients. but most of those are deceased. >> kroft: dead >> roesler: dead. >> kroft: they're working stiffs. >> roesler: i guess you could say that. >> kroft: you could call roesler's business a william morris agency for the departed, the c.a.a. of the d.o.a. it's called c.m.g., and it's headquartered far from the glitter of hollywood in an office park on the fringes of indianapolis, distinguished only for the orange wind sock for roesler's heli-pad and his green bentley. inside is a multi-t

errol morris, who produces an explicit, stylized movies. he is one of my heroes. we noticed the way in which the whole landscape in the -- the documentary landscape in the last 20 years has been changed and transformed. the rest of our environment -- i invite you to come up to the studios in new hampshire to see lots of young, talented filmmakers who are trying to make a go of it. >> what time of year is that invitation? >> i am away on the road an awful lot, so i hope to be able to introduce you personally, but you'll just have to take pot luck if i'm not there. >> share with our audience both on c-span and here at the national press club, was the most painful scene in this documentary that you had to leave on the cutting room floor and why did you let it go? [laughter] >> i have ice water running through my veins. there is no scene on the cutting room floor that for me i agonize about. the question though, that you have asked, should have been directed at dayton duncan. [laughter] he just assured me the question did not come from him. what happens, invariably, i