when elly and -- stepped step down as the co-chairs they recruited helen milligan and sharon rockefellero take their places so she continued to have a close relationship. i think she had a great deal of respect for bill milligan as a politician out of the same moderate republican mold that she was out of. any other questions or comments that people want to share from your own experience? go ahead again, bill. >> i gather you weren't right there when she was going through those -- but i remember her as a young person. i thought you cast her so well how it felt to see a little article in the women's section about her and what she was doing. >> you are right in that comment was about if you were a woman in her 60s or so or else or women as well that she caught your attention and like i said the headlines referred to elly and they knew who she was talking about. both in terms of her first years in a campaign which was groundbreaking in michigan and impact nationally at the time and is well and she became the state republican chairman. one of the things that interested me when i went through

bob cardin, sharon rockefeller, rachel ray, pat harrison, melisaa with newshook media. this month of october at the national press club may bring some of the best speakers we have had in our history. that is all due to her work. let's get over our speaker for a moment, we have the washington bureau chief of cbs news. the president and ceo of pbs and guest of our speaker. a graduate student in media and public affairs at the george washington university. betsy fisher, a longtime executive producer with "meet the press. " allison is still as reporter for bloomberg news. roberts, able to get away today even though he is political research director for cnn. please give me one more round of applause -- please give them a warm round of applause. [applause] thank you. you know the signature style when you see it. the slow zoom, the narration of a familiar voice, like tom hanks or morgan freeman. the sounds of banjos in the back. all set against a backdrop of an historic american tail. it is literally called the ken burn effect. our guest today is the creator. he is the automak

decided to step down as the co-chairs of the era america, they recruited helen milliken and sharon percy rockefeller to take their places, so she continued to have a very close relationship. um, i think that she had a great deal of respect for bill milliken as a politician, and i think he was clearly out of the same moderate republican mold that she was out of. any other questions? or comments people want to share from your own experiences? go ahead again, bill. >> no, go ahead, liz. >> liz. >> i wanted to say, i gather that you're a little bit younger, so -- [inaudible] when she was breaking through all those barriers, i be i -- but i can remember her -- [inaudible] and i thought you captured so well how it felt to just see the little article on the women's section about her and what she was doing. she really was a groundbreaker. >> i think you're right, and the comment was about that if you were a woman, shall we say in our 60s or so -- and older women as well -- that she caught your attention. and it was like i said, the headlines around here could refer to elly, and you knew who they were talkin

those last 30 years, i have enjoyed not only the partnership with -- the friendship of all sharon rockefeller and it is great to once again share this table with her. she is a dear friend and we could not leave home without these friends. we make a kind of cliche to filmmaking that it is a collaborative medium. it is. it is important today particularly to acknowledge what i will call the-space of creation. i do not mean that pejoratively. this culture brings a block of stone to her studio and works on it and what we get to see is the finished product. what she understands in her heart and in her gut is all that is lying on the floor of the studio is the negative space of creation. that is true in almost every creative process and it is true in filmmaking were quite often we might have 40 or 50 times as much material that we filmed or collected bank and actually make it into the final film. this is called the shooting ratio. i live in new hampshire and it takes 40 gallons of sap to make 1 gallon of maple syrup. this is very much like a documentary filmmaking. [laughter] given the subject of ou