and coppola was the first one to work for him and later, scorsese.orman provided the model for independence they wanted. his big advantage was his output deal that he had with american international and some television companies. anything that he produced they would put on the air. it didn't matter what it was, as long as it was long enough. he realized more than anybody working in commercial industry that there was a lot of talent amongst film students. they would work inexpensively. and work very hard. "who's that knocking" was shown in california, only the theatre manager didn't like the title, so he changed it, which was a good idea. and roger corman saw it, or people who worked for roger. and roger was always looking for new, young talent coming out of universities or anywhere in california. he offered me the sequel. the sequel to bloody mama, which was "boxcar bertha." (john milius) the thing that applied well from student filmmaking to that kind of filmmaking was to make what you had go as far as it was possible, to try and get it to look as m

and coppola was the first one to work for him and later, scorsese.orman provided the model for independence they wanted. his big advantage was his output deal that he had with american international and some television companies. anything that he produced they would put on the air. it didn't matter what it was, as long as it was long enough. he realized more than anybody working in commercial industry that there was a lot of talent amongst film students. they would work inexpensively. and work very hard. "who's that knocking" was shown in california, only the theatre manager didn't like the title, so he changed it, which was a good idea. and roger corman saw it, or people who worked for roger. and roger was always looking for new, young talent coming out of universities or anywhere in california. he offered me the sequel. the sequel to bloody mama, which was "boxcar bertha." (john milius) the thing that applied well from student filmmaking to that kind of filmmaking was to make what you had go as far as it was possible, to try and get it to look as m

the great -- >> martin scorsese. >> martin scorsese. you had there -- >> so many people. >> rose: and the thing with dreamworks didn't work out. you and david couldn't -- what? get along? >> my regard for david geffen is extremely high. i think that david geffen is one of the greatest not only showmen but one of the greatest businessmen that have ever -- >> rose: why couldn't you make it work at paramount? >> i don't -- i can't really give you a great answer for that other than the fact that when we bought dreamworks we made what we thought was a great deal. we had, as i said no development. >> rose: so you were buying development. >> we're trying to jump start -- at that time we needed the development. and the idea was that in five years we would be able to develop all of our own over those years so we really would need to go by -- >> rose: and you'd have steven spielberg. >> steven and the distribution of d.w.a.. >> rose: and the brains of david geffen. >> and the brains of david and the artistry of steven. it's extraordinary so the d

he has been a consultant to martin scorsese on "the gangs of new york" so that you know he can do more than write books. t is a professor at new york university. you can s him. he has been a fellow at the migration policy institute. i'm not going to list all nine of his books, all of which focus on either immigration or ethnic history, history of american medicine and public health, or both. his books include "silent "silents and -- travelers" and "huddled masses." he has served as president of the immigration and ethnic histories society and next week will become president of the organization of american historians. he chairs the statue of liberty foundation's history advisory committee and has been a consultant to many documentary films, museum exhibitions and the national park service. mae ngai is a professor at the university of chicago and has had every fellowship one can possibly imagine. author of "m possible subjects -- illegal aliens and the making of modern america." her books have won prizes but what's impressive about this one is that it has won prizes from six different or

, which is interviews with martin scorsese over several years than all of his great films. but our topic is the cold war hollywood and beyond. at the end what we do in the q&a who want to venture off, that's fine, too. so let's get started. their book is about how we forgot the cold war and maybe you can tell i was, why are we supposed remember the cold war and what exactly are we supposed to remember? >> what is our timeframe here? >> when richard starts tapping the table. >> i wanted to find out how americans are remembering the cold war and the project format the estate journey. i traveled this evening but preliminary question is what are we supposed to remember about the cold war and there is an official story of the cold war that democrats and republicans have agreed upon and that is the cold war was a good war, a war like world war ii, a battle between freedom and totalitarianism. right now this is same for republican ideas and democratic idea, but democrats are equal participants in the cold war and george bush articulated this in his first natural address, drawing a