was made and so we union and the war come to most film because most when was the producer of the film and the mother war two war school awarded to you for war and peace or sent by the russians in belgium and they gain this award is we keep seeing mostly a lot about moscow doesn't believe until it's. well over his shoulder. i mean it was something to do yes and. it was. produced by muslims and that he had to get first and fill with. what we can get that back ok now. you know the question about about the oscars many people say that that the european festivals the concepts of all the sense of best out of the berlin festivals are the real festivals of which judge the quality and the essence and the spirit of the movies well well hollywood. goes to the oscars and oscars actually judge like the commercial part of them so they do but do you believe do you believe that. i think the criteria is different in the states. being the villain and the real judge of film as time only time only time which is which can not even a box office and i'm not out there number. again to find. a lot of films whi

the film premiered at the sundance film festival. dawn porter is with us. 're joined by one of the lawyers she profiles in the film, travis williams, a public defender in hall county, georgia. talk about why he made this dilma. >> i am aware and i had gone to the south, i met the head of the southern public defender training center. i saw all the training that was happening in the south for young lawyers. i was really strong by this group of committed young public defenders who were trying to kind of change the way public defense practiced in the u.s.. i just thought their story was not known and people would be interested in seeing what was happening. >> be felt -- figures are astounding. the u.s. has 2 million people? >> 2.5 billion people. 2.3-2.5 million people. >> talk about the significance and this ruling, the right to counsel and a criminal case has meant. >> as americans, we are so familiar with the phrase, "you have the right to an attorney," that we think it originated with the constitution. it is only 50 years old. the supreme court ruling was in

the film is directed by two-time oscar-winning filmmaker barbara kopple, the first film she ever made alone, to cut carbon county usa" won an oscar in 1977. i sat down with barbara kopple and last mariel hemingway to get the sundance film festival. first, let's go back to 1954, an excerpt of the late, great writer ernest hemingway's speech accepting the nobel prize for literature. >> except other which humility. there is no need to list these writers. everyone here may make its own list according to his knowledge and his conscience. it would be impossible for me to ask the ambassador of my country to read a speech in which a writer said all the things which are in his heart. things may not be immediately discernible in what a man writes, and in this sometimes he is fortunate. but eventually, they are quite clear and by these and the degree of alchemy that he possesses, he will endure or be forgotten. writing, at its best, is only life. organizations for writers palliate the writer's loneliness, but i doubt if they improve his writing. he grows in public stature as he sheds his lonelin

the country. that was my first film. i learned a ton about filmmaking , a ton about life and i fill them up with the process. with a blogger, you know, shot a film, church raided the. from that film, it led me to his job at hbo and started me down this crazy path of making documentary films. c-span: one question about teach for america. how big of an ego destroyer is that when they don't take you? how many young people try to become teach for america? >> guest: i couldn't believe it. i thought, i'm trying to help people and be a teacher and you get it, but it hurt. i wouldn't be sitting here if that hadn't happened. i ended up interviewing wendy kopp from teach for america for my first son, so it came full circle. c-span: go back to the project of going around the country. where did you go, how many people really do how much did it cost you? >> guest: in fall 2005 a data for three of of my best friends. it was really cheap. we were scrapping together money from family and friends. we get sponsorship money from nantucket n

in a moment, we will be joined by the film's director jehane noujaim, the first part of the film's trailer. >> january 2011, cairo. >> the first one was about breaking something, this one is about building something. >> the five team right now centers around the army. they remain in power. >> the trailer for the new documentary "the square," by jehane noujaim. in 2004, she directed the film "control room" about al jazeera. welcome back to "democracy now!" it is great to have you with us. can you talk about the significance -- you have been filming for two years? >> correct. >> talk about how you started this project. >> i guess like sharif, i am egyptian, we all felt we had to be back there. i made a film in 2007 about a few women who have been fighting for freedom of speech, against corruption and egypt. i was aware of the movement that has been happening for a long time in the streets. when it started to gather power and force in the beginning of 2011, it was exciting. i went back. i met my crew in the square. we basically started filming. we had five cameras in the square of led by an i

the film explores how u.s. intervention in latin america and the caribbean forced millions of people to leave their homes to migrate to the united states. we will play an excerpt of a conversation that i had with juan as well as the film's co- director. i want to encourage you to call in as we go to clips of the film in the interview because the faster you call in, the more of the interview we can play. the number to call, at the bottom of your screen drought the show, 866-359-4334. 866-359-4334. if you would like to get a copy of this remarkable film that is opening all over the country in march, call in right now and pledged $100. "harvested in higher" is yours. if you pledge $100, you can also get the book of juan gonzalez, which the film is booked on. at holiday time, just a few weeks ago, the curators of the smithsonian recommended reading his book, which is required reading in classrooms across the country. it is an amazing book, "harvest of the entire." if you want to get both, what an incredible educatio

mugyenyi is featured in the film. honor to have you here before you go back, to uganda, where you were jailed for trying to bring in generic drugs. explain what the head of supplanted, the head of this drug company, how he challenged the rest of the world, saying that he would cut the prices of aids drugs. the amount of people would have to pay for the triple cocktail, before and after? >> there was worldwide misinformation that aids drugs were too expensive to manufacture. it was also said that it was impossible to use these drugs in african conditions. dr. hamied called the bluff of all the people who are propagating this information. >> how? >> well, he literally announced, it is not true that drugs have to be produced at an exorbitant cost. they could be produced at a relatively affordable cost. it was the issue of affordability and access where hamied came in. >> before him, drug companies would charge $15,000 for one patient to get the triple cocktail for the year. he cut that price to less than $1 a day? $15,000

for almost a hundred years, the american film industry has produced films that have truly engaged theudience. pure entertainment, these films are a sophisticated art form, using highly skilled craftsmen and technological know-how. the style of these films, perfected in the 20s and 30s, isn't easy to see. in fact the classic hollywood style is almost invisible. but that is its aim: to make you, the audience, so involved with the story, so identified with characters that you don't notice the sets, the camera angles or the editing, any of the filmcraft that created this special world. in this program, narrated by joe morton, america's greatest directors will usher you through 70 years of talking pictures and show you "the hollywood style." (piano music playing) (narrator) once upon a time, it was discovered that americans liked stories more than anything else. stories that were fables about characters with whom they could identify. the business people enlisted all of the best storytellers. and together they developed a style of storytelling on a scale previously unimagined. soon the syst

we didn't know that the secretary had seen the film. n we, you know, we wished we'd heard the name of the film under happier circumstances than those hearings, but, yeah, we were surprised and flattered that she invoked the film. >> well, it's not just moviegoers that have noticed your film. the world is taking notice. iran has announced that argo is a fabrication and the government is sponsoring now their own version of those events. what do you make of that? >> well, i think it's an interesting development. i think ben and i both feel that the film must have hit a nerve in some way with the iranian regime if they feel compelled to respond to it. it's -- it's a -- some of the same cast of characters that were behind the 444 days are some of the same people that are behind the iranian regime now. in a way, it's not surprising they would feel compelled to just sort of contradict some of the story that we told. but it will be interesting to see what they do. there are a lot of great iranian directors. i mean, you know, some of the director

actually the raw america. in films that are quite realistic which is about the christian references but the thing about french films is i guess we know how to make films about our times you know that if you. look at book one but that you know anything about russian cinema those are the. no really we we yes yes yes wait a minute i'll give me some russian films. bill . that's a russian director right i know him. i think he may be the only russian director we know in france is the only one i know although i'm not really an expert on russian illnesses and this is a contemporary wish and filmmaker and he is one of yes. ok now let's talk about we started talking about hollywood yes well actually hollywood is is the best factory of making movies sure it's one of the biggest in the world but well i. like to say that hollywood is killing the movies why because because it's so it's such a high standard of movie making and then when you see an ordinary film. with a low budget you see the low budget and people only used to watchin

and in the film, the action have one of the most powerful portions of the film is the testimony of oneof the salvadoran torture victims, who became an immigrant or a refugee here in the united states free of the she talks in vivid terms about the kinds of tortures that she went through -- in the united states. she talks in vivid terms about the kinds of tortures that she went through and somehow managed to survive. romney got his start in bain through this investment, by some of the salvadorian believes, is really telling in itself. >> i want to get your comment on the current presidential candidates talking about immigration. in an appearance on the spanish- language network univision last thursday, president obama faced tough questions over his immigration policies, including his failure to fulfill a campaign promise to enact comprehensive immigration reform during his first year in office. of a mccall the lack of immigration reform the biggest failure of his presidency but attempted to shift blame for the failure to republicans. >> when we talk about immigration reform in the first

i guess the message of this film that to these people is that they should not be ashamed of their roots. so they should not be afraid of anything there's always in the their roots going to be their strength. meanwhile i don't know about russia but in france having foreign roots is still a bit of a problem it is ok to be on the range and be black it is ok to be french and to be chinese so the problem is still there i think the message of the film as i think you should embrace your roots. they should make you stronger if you see they should help you. it's not easy but you shouldn't hide anything. when i understand my french do you bring your good student alexander. well but today he speak perfect french you're a popular person in france do you feel yourself to be being french or do you feel yourself jiri an ether you feel yourself a little cheer in french how do you identify yourself i mean this is very important not only. that i have never lived in algeria. since i was born in algeria and i grew up in france my mother is french my father is old during the french made it's also because af

the means. so i think that dramatically is what that film, one of the questions that that film is asking. i think it's appropriate to ask that question and i also think as i said earlier, that to portray this story honestly, you can't leave out the fact that in the early stage of the game, detainees were being handled very roughly. >> rose: and the c.i.a. officials i know say somehow they were able to pick up certain pieces of information that did contribute. on the other hand it could have been they had it already or they got it later in a better way. >> the only way you would ever know if they could have gotten it without the methods they used is that they had not done what they did. but history is history. >> rose: right. >> if you go by the -- argument and he was the special agent of the f.b.i. and did a large number of these interrogations before there was any enhanced interrogation techniques used, he would argue that he was getting more information at the skilled interrogator before they started the enhanced techniques. >> i have no doubt that's true. i think a skilled interrogator

films. american. actually the raw america. films that are quite realistic which is about the goodison references but the thing about french film says i guess we know how to make films about our times you know that if you. look at book but that you know anything about russian cinema those are the. no really we yes yes yes wait a minute i'll give me some russian films. bill. that's a russian director right i know him. i think he may be the only russian director we know in france he's the only one i know although i'm not really an expert on the russian illnesses and this is a contemporary wish and filmmaker and he is one of us. ok now let's talk about we started talking about hollywood yes well actually hollywood is is the best factory of making movies sure it's the biggest in the world but well i. like to say that hollywood is killing the movies why because because it's so it's such a high standard of movie making and then when you see an ordinary film. with a low budget you see the low budget and people only used to watching the

it is premiered here at the sundance film festival. go out to scores of movie theaters around the country. this is just the beginning. i congratulate you both, jeremy scahill and rick rowley. what an amazing film. this is our first day at the sundance film festival. democracy now! is looking for feedback from people who appreciate the closed captioning. e-mail your comments to outreach@democracynow.org or mail them to democracy now!

so we shot the movie on film. then they scanned it, digitized it, and then they start working on the color, balancing all of the edits and everything together digitally. then there comes a time where they're like okay, we've got this great digital image now on the screen. now we have to match it back to film, photochemical film. so behind you is a colorist and a timer one guy who works on digital color and another guy who works on photochemical. they start talking, and that's where "side by side" came up. because the old and the new were kind of speaking to each other, or this medium. then at the same time, the cinematographer was showing me images on his 5d, going, "look, i just shot this for a commercial," and then the director was saying to me, "yeah, i've been shooting digitally." then i was talking to the guy at technicolor saying that they weren't, the film companies who were making film, their business was changing. i was working with chris kenneally, the director of the documentary, in post, he was working

the means. so i think that dramatically is what that film, one of the questions that that film is asking. i think it's appropriate to ask that question and i also think as i said earlier, that to portray this story honestly, you can't leave out the fact that in the early stage of the game, detainees were being handled very roughly. >> rose: and the c.i.a. officials i know say somehow they were able to pick up certain pieces of information that did contribute. on the other hand it could have been they had it already or they got it later in a better way. >> the only way you would ever know if they could have gotten it without the methods they used is that they had not done what they did. but history is history. >> rose: right. >> if you go by the -- argument and he was the special agent of the f.b.i. and did a large number of these interrogations before there was any enhanced interrogation techniques used, he would argue that he was getting more information at the skilled interrogator before they started the enhanced techniques. >> i have no doubt that's true. i think a skilled interrogator

bin laden later in the show danny goldberg joins me to explain why we must continue to criticize the film if we hope to learn from the war crimes committed in the past and finally republicans in virginia stuck in election rigging plans for the state senate well everyone has folks focused on the inauguration will tell you what they did and more importantly why they did it and how it speaks to fundamental differences between conservatives and liberals in tonight's daily to. be the best of the rest of the news the same voices well it is sort of a right that i'd say right across the board in today's gun debate have officially exit the stage a week after president obama introduced a series of new gun reforms republican senate leader mitch mcconnell sent e-mail to supporters saying quote you and i are literally surrounded the gun grabbers in the senate are about to launch an all out assault on the second amendment and your rights and your freedom he concluded the email by writing the gun grabbers are in full battle mode and they are serious so so much for trying to have an honest gun debate wit

tavis: yeah. >> well, i mean tavis: the community that you were filming in. cause to your point, this is a movie, but the real community around which you're filming, people have thoughts and feelings about this. i wonder as a screenwriter, as the guy in charge of this production, whether or not you get tugged at one way or the other. >> no, no, certainly. that's exactly why we wanted to make it. because it's complex and the stakes are incredibly high for everybody. that's why it's exactly the movie we wanted to make. the fact that people are divided is why we wanted to explore it. tavis: yeah. tell me how -- i'm curious, and again, i'm glad we've got a couple of nights to get into this -- but you and i were talking before we came on camera here about the fact we have a mutual friend -- hi, terry. [laughter] he knows who he is. terry clayborn is a mutual friend of ours, and knowing terry as i do, i doubt this ever got to you. but i told terry a thousand times in conversations with him, tell matt i'm a huge fan, i love his work. i didn't mean just the acting, an

given the content of the film. there was no torture, interrogation scenes in the ben affleck film. "zero dark thirty" was a little bit more messy. the intelligence people who cooperated with the filmmakers there seem to be more hesitant, very hesitant to turn up to celebrate their handiwork. host: we're talking with mark hosenball of reuters, the cia's role in the new movie "zero dark thirty." a tweet, it is a lousy movie. it would have been forgotten by now if feinstein would just leave it be. andrew is on our line for democrats. caller: good morning. how do address the fact that the actual interrogation does not actually yield a good stream of information? the filmmakers were asked to put a preface on this film stating that it does not really reflect an actual situation or true situation. they were asked to do that because of the intelligence was primarily gathered to capture, to kill bin laden using more nominal techniques, and also the fact that many of us feel we are subject to our soldiers to the techniques, -

i don't feel that the film is pro torture. gh that film you cannot come out of it and say torture is a good thing. you would have to be sadistic lunatic to think that. the torture is so oh horrific and i think it's clear that they're morley irreprehensible. i think she makes that very clear. whether some information was gathered in that way that may lee to a more secure lead to capture bin-laden. i don't think we'll ever know. there was so much information gathered over a long period of time. this was a film that condenses ten years into two and a half hours. clearly characters and information is condensed. so i think that we have to look at this as a cinematic piece of artery than a historical piece of fact. >> jim, what are your thoughts. >> you're right to an extent. unfortunately when you have a movie that starts out saying this is based on real events, that there is a responsibility on the part of the makers that have movie to tell the truth when it comes to an incredibly difficult and moral issue. what they could have don

25% of the theatrical film market. s of movies. >>> why aren't there more of us in the movies? this baffles me. if so many black people are going to the movies, why aren't we represented there the same as in sports or other aspects of speak entertainment? >> i think movies are hard to make across the board for everybody. i think there is a dollar trail. i think the key really ends up being distribution. how do you reach a lot of people? how do you get them talking about your film? and there is something else. i think it is how do you reeducate people in a way to kind of watch different kinds of films. >> those are two really important points. the first one you mentioned is this idea of distribution. getting studios to recognize the value of black film and black audiences. if we go to the theater, why don't they see that? why aren't they pouncing on this the same way as hip hop music or the same way they do football players or basketball players? >> one thing i would like to say, you said getting studios to recognize the

the film "life of pi" received 11 nominations. "amour" has been nominated really in both best foreign language category and best film, and the oldest ever nominee for best actress at 85. the oscars will be handed out on february 24. well, a director acknowledged as one of the all-time greatest, martin scorsese, is being honored here in berlin. >> a special exhibition to celebrate his work and films has opened in the german capital. this is the first exhibition of its kind on the american director who recently celebrated his 70th birthday. >> he is known for spectacular cinematography and often graphic violence. the blood-stained shirt worn by robert deniro in "cape fear court a man is one of the exhibits. martin scorsese help the museum put together the collection. >> it was only on a very few rare occasions and for understandable reasons that he said no -- because something was too personal or it was not suitable. he opened of his archives, and his assistants were very helpful. >> scorsese made robert deniro into a hollywood star.

the film "life of pi" received 11 nominations. "amour" has been nominated really in both best foreign language category and best film, and the oldest ever nominee for best actress at 85. the oscars will be handed out on february 24. well, a director acknowledged as one of the all-time greatest, martin scorsese, is being honored here in berlin. >> a special exhibition to celebrate his work and films has opened in the german capital. this is the first exhibition of its kind on the american director who recently celebrated his 70th birthday. >> he is known for spectacular cinematography and often graphic violence. the blood-stained shirt worn by robert deniro in "cape fear court a man is one of the exhibits. martin scorsese help the museum put together the collection. >> it was only on a very few rare occasions and for understandable reasons that he said no -- because something was too personal or it was not suitable. he opened of his archives, and his assistants were very helpful. >> scorsese made robert deniro into a hollywood star.

the film "life of pi" received 11 nominations. "amour" has been nominated really in both best foreign language category and best film, and the oldest ever nominee for best actress at 85. the oscars will be handed out on february 24. well, a director acknowledged as one of the all-time greatest, martin scorsese, is being honored here in berlin. >> a special exhibition to celebrate his work and films has opened in the german capital. this is the first exhibition of its kind on the american director who recently celebrated his 70th birthday. >> he is known for spectacular cinematography and often graphic violence. the blood-stained shirt worn by robert deniro in "cape fear court a man is one of the exhibits. martin scorsese help the museum put together the collection. >> it was only on a very few rare occasions and for understandable reasons that he said no -- because something was too personal or it was not suitable. he opened of his archives, and his assistants were very helpful. >> scorsese made robert deniro into a hollywood star.

but i think when audiences see the film, they'll understand at the end of the film it kind of defies ns as to what you think is going to happen. there was actually a great column in the new yorker called the dark presence of guns. and it's uncanny that his narrative he describes parallels my film pretty closely. he talks about the first time he fired a handgun when he was a police officer in cape cod. he says, you know, you realize you turn to the guy next to you and you could end his life. and there's some sense of power there that comes with that. and he says it's not necessarily that he has a murderous impulse but more he understands the sense of authority the gun gives him. >> i have not seen your film. congrats on getting to sundance. that's a huge accomplishment. but what was the point here? was the point to try and kind of scare folks away from buying a gun for self-defense? one of our fundamental rights and responsible thing to do? >> not at all. the film's not meant to push an agenda. i think the strength of it is it leaves it open to your interpretation. and i think that's w

when i first read the book, i did not think it could be a film. i was pretty much hanging around backstage with nothing to do, and i went to the director, and i said, "you know, i have read this really great book." in he said, "is it a movie?" and i said i did not think so. then i got a call, asking if i wanted to do it with ang lee, and that is when i thought it was a great idea. tavis: this is not a kid's-up to ang lee, but how much does a name propel you, inspire you to give the impossible done? >> i would not have taken the project if it was not a name ike ang's or ang's specifically, because i knew it was that part of a project, and i do not think i could have seen how it could've been done without some of his patients and his caliber and his ability to work on the project. the advantage of working on a film with the director from the beginning is you are discussing this seen as they all. he is discussing the problems you are having with it, and he says, "we cannot do it this way or that way." and you learn how he is going to film it, so it is

based on the true story of oakland's oscar grant took home top honors at the sundance film festival this weekend. grant was the unarmed man shot and killed by a park police officer in 2009. and there is already buzz about the film for next year's academy awards. we're hearing our first reaction to the film's big accolades from oscar grant's family. monty francis is live with the story. >> we're here at the fruitvale station. it took home two big honors this weekend at the sundance film festival. >> do you have plans for tonight? >> the film stars oscar winning actress as oscar's mother and michael b. jordan as oscar gran. it drawn cals the 24 hours leading up to the shooting that ended grant's life. fruitvale won the grand jury prize and the sundance audience award. he lives in richmond. in his acceptance speech, he called the movie a love letter to the bay area and dedicated the honor to oscar grant's family who was there for the premier of the film in utah and just returned home. we caught one oscar grant's aunt and uncle tonight. they said the film brings the much needed

de the freshman with matthew broderick. and i did a film with path u broderick and matthew broderick was scared to death to work with brando because brando tilted the axis of american filmmaking. and he keeps waiting for the day he's going to work with brando and it's going to take place in a dorm room. and the day comes. and they tell matthew now brando likes to improvise, he may not say the words so whatever, so you just have to go with him. he said all right, all right. matthew tells it much better, i will tell it quickly. so matthew is sitting on the edge of the bed, brando on the other edge, they had this much distance between them and they start doing the scene. and in the middle of the take brando says, you know, i can't hear i can't hear-- i can't understand one word you're saying. he says, he said, are you eating tuna fish. and broderick goes like this he says, he's improvisinging don't know what this has anything to do with the scene. so he keeps going. he says i'm telling you, i can't understand a word you're saying. is that tuna

the u.s. grand jury prize for dramatic film as well as the audience award for u.s. ramatic film at sundance. ryan coogler accepted the award saturday night. >> this day, when i first made this project, it was about humanity, about human beings and how we treat each other, how we treat the people we love the most and how we treat the people we don't know. to get this award means it had a profound impact on the audience that saw a, on the people responsible for putting that out, and this goes back to my home, to the bay area -- [applause] or oscar grant lived, breathed, slept, loved, fought, have fun and survived for 22 years. i take this award home and i hope you take this award home with you guys as well. i cannot wait t see you when i am a little more particular and also a motional. >> you can go to democracynow.org to see our full interview with ryan coogler. "blood brother" 1 the jury and audience prize for best documentary. several films featured on "democracy now!" last it also won awards. "gideon's army" won for best editing for documentary. "the square" won th