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tv   60 Minutes  CBS  February 25, 2018 7:00pm-8:00pm PST

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we er, so you can. >> pelley: over seven years of civil war, the syrian government has repeatedly bombed its civilians. as we saw this past week outside damascus. incredibly, it has also continued to use chemical weapons on civilians-- not just a few times, but nearly 200 times. and tonight in our story you will see the awful truth. >> mulet: we have the big crater, sarin was released, more than 100 people were killed, more than 200 were affected, women and children. >> pelley: who is using the sarin? >> mulet: only the syrian government. >> jr: the people made me realize it's important in everything single pasting. >> cooper: dignity is something
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that all of us want. >> jr: all of us. >> cooper: no matter. >> jr: because the issues people are facing are life and death. of course. dignity goes to the way we are being seen by the others. we will portray ourselves. >> cooper: i think some people will say, you know, who don't know where their next meal is coming from, who are struggling to survive-- care about art? >> jr: you know what, yes. >> whitaker: how did you get from kentucky to the top of hollywood? >> lawrence: desperation. >> whitaker: at just 27, jennifer lawrence has already been nominated for four academy awards-- winning one. >> lawrence: you are not a stand-up guy right now! >> whitaker: she has starred in a range of movies, but in her latest, she does something she has always avoided-- nudity. >> lawrence: it's my body, it's my art, and it's my choice. and if you don't like boobs, you should not go see "red sparrow."
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>> i'm steve kroft. >> i'm lesley stahl. >> i'm scott pelley. >> i'm anderson cooper. >> i'm bill whitaker. those stories, tonight, on "60 minutes." today, we're out here with some surprising facts about type 2 diabetes. so you have type 2 diabetes, right? yeah. yes i do. okay so you diet, you exercise, you manage your a1c? that's the plan. what about your heart? what do you mean my heart? the truth is, type 2 diabetes can make you twice as likely to die from a cardiovascular event, like a heart attack or stroke. and with heart disease, your risk is even higher. but wait, there's good news for adults who have type 2 diabetes and heart disease. jardiance is the only type 2 diabetes pill with a lifesaving cardiovascular benefit. jardiance is proven to both significantly reduce the chance of dying from a cardiovascular event in adults who have type 2 diabetes and heart disease alower your a1c. jardiance can cause serious side effects including dehydration.
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or where we'll go next. we the people who are better together than we are alone... are unstoppable. welcome to the entirely new expedition. but he's got work to do. with a sore back. so he took aleve this morning. if he'd taken tylenol, he'd be stopping for more pills right now.
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only aleve has the strength to stop tough pain for up to 12 hours with just one pill. tylenol can't do that. aleve. all day strong. all day long. and for pain relief and a good night's rest, try aleve pm for a better am. >> pelley: this past week, syrian president bashar al-assad unleashed one of his heaviest bombardments on civilians in a struggle to end the civil war that threatened his family's dynastic dictatorship. assad has committed just about every war crime under international law. his worst atrocities involve
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banned chemical weapons. this is the story of one of those massacres. it is hard to watch, and it is not for small children, but it is important to see because chemical assaults have now become routine in syria, with nearly 200 over seven years. this past november, syria's ally, russia, shut down the united nations investigation into who is responsible. but our investigation continues. we have found a number of witnesses to a nerve gas attack that happened on april 4, 2017. we'll begin with video that has not been seen until tonight. the images were shot by a syrian civil defense volunteer. so many victims fell at once, first responders used fire hoses to wash them. there was a chance, a small one, that stripping contaminated clothes and dowsing the skin
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might save a life. these are the people of a small farming town called khan shaykhun. they fell after a warplane dropped a bomb nearby. they're civilians. there's no military target here. but the village does lie in territory held by rebels fighting against the dictatorship of bashar al-assad. what is striking is the number of children. inhaling just a hint of the gas overwhelmed their nervous systems. all of their nerves fired at the same time, muscles seized, and paralyzed lungs left their last breath stuck in their throats. the civil defense worker with the camera is repeating the name of the village, khan shaykhun, khan shaykhun, as though he feared the atrocity itself might be washed away and forgotten. >> edmond mulet: very early in the morning, between 6:30 and
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7:00 in the morning on the 4th of april, airplanes were flying around and over khan shaykhun. >> pelley: edmond mulet led the investigation of chemical attacks in syria for the united nations and the organization for the prohibition of chemical weapons. >> mulet: we have these airplanes flying; these bombs launched. more than 100 people were killed. more than 200 people were affected. mainly children and women. >> pelley: the emergency response was coordinated by the famed white helmets, civil defense volunteers, supervised by mustafa al-haj yousef. ( speaking foreign language ) "some people were fainting," he told us, "completely unconscious. there were cases of trembling and convulsions, foam coming out of the respiratory tract and mouth. some people appeared to be already dead." he counted the bodies of more than 30 children.
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"there were young children," he told us. "i was treating them, but it was already over. the doctor who was with us there said, 'leave them, they're dead.' young children, three months, four months, five months, some two years old." the day before the attack, warplanes bombed local hospitals, ensuring a longer trip to medical care. white helmet volunteers loaded those still gasping onto a truck, with 30 miles to go to reach one of the nearest surviving hospitals, where dr. abdulhai tennari was working. ( speaking foreign language ) "there were patients who had lost consciousness," he told us. "patients suffering from
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shortness of breath. people were doing c.p.r. there were many children, women, the elderly. every age. from the very first minute, we were positive that the gas that was used was sarin." sarin nerve gas was invented in a nazi program. in 1997, sarin and other chemical weapons were banned by international law. tell me about some of the patients from that day, that are still in your mind. "the case that affected me the most was one where there were two girls who were five and six years old," dr. tennari said. "they seemed to be sisters. they were brought to the hospital, and i started doing c.p.r. right away, but it was clear that the two girls had died hours ago." dr. mamoun morad told us, "a boy
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arrived, gasping for breath, with foam coming out of his mouth and with pinpoint pupils. we washed the boy. we washed and we washed and we washed. we gave him what treatment we could, and tried to resuscitate him, but he didn't make it." weren't you concerned about being exposed yourself? "the situation is more desperate than i can describe," he said. "there are no words. it was like judgment day, the apocalypse. you just can't even describe the scene, can't even begin to scratch the surface of explaining what happened. we didn't have any protective equipment for gas." you're feeling the effects of this even now? "yes. my voice," he said. "do you hear my voice?" the khan shaykhun attack drew immediate retaliation from the trump administration, which fired 59 cruise missiles into a syrian airbase. but only hours later, according
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to doctors and witnesses, the syrian dictatorship dropped another banned chemical weapon, a chlorine bomb. the worst of the chemical attacks came in 2013, when 1,400 civilians were killed by sarin near damascus. in response, the u.s. and russia pressed syria to hand over its chemical weapons. 1,400 tons of poisons were destroyed. so, the attack on khan shaykhun should not have been possible. the head of the u.n. investigation, edmond mulet, told us the syrians had an explanation. >> mulet: the syrians have been claiming since the very beginning that this incident in khan shaykhun was staged. it was something that was created by the opposition, by the rebels, by the terrorists, in order to blame the syrian government.
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they claimed that the bomb that created the crater was an i.e.d., an improvised explosive device, that was placed on the surface of the-- of the road-- of the asphalt that morning. that i.e.d. contained sarin, and that's how it was released, but it did not come from an aerial bomb. >> pelley: evidence at khan shaykhun was gathered by the white helmets. chemical attacks have become so common that advanced equipment and training are being provided by an international charity called mayday rescue. ( speaking foreign language ) "we collected samples from the body of the missile, and a soil sample," mohammad kayal told us. "we also took a sample from the clothes of the affected, as well as animal samples-- a cat, a pigeon. we took hair as well." and, the samples were all positive for sarin.
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why was it so important to you to document what happened in the village? ( speaking foreign language ) "our job is to be humanitarians," he said. "the goal of the strike was to target civilians. it didn't target fighters on the front. we must document a chemical strike such as this one, so we can show the entire world." we spoke to the u.n.'s edmond mulet about three hours before he lost his job. russia, the syrian dictatorship's chief ally, ended mulet's investigation with a veto in the security council. russia called his investigation's results "very disappointing." who's using the sarin? >> mulet: only the syrian government. >> pelley: how do you know that? >> mulet: well, the investigations we have conducted have proven that the sarin that has been used in syria has come
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from the original stockpile that was produced and created and distilled by the syrian government some years ago. we have been able to determine and compare what had been used in the field recently in syria with the original stockpile, and they matched completely. >> pelley: does anyone else in that theatre of war possess sarin gas, to your knowledge? >> mulet: no. no, nobody else. because it's so difficult to produce, you need very sophisticated and big laboratories to do that. the manipulation of the sarin is extremely complicated. it's extremely volatile. one single drop here right now would be killing everybody in this studio immediately. so, it's not anybody that can do that. >> pelley: one question not answered by the u.n. investigation was "why?" why resort to a war crime? to find out, we traveled into the province where khan shaykhun
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is located-- idlib province, largely controlled by an islamist extremist group, hai'yat tahrir al-sham. here, we found the dictatorship had used conventional bombs against hospitals and schools, in addition to the nerve gas in the neighborhoods. so what's the point of using the world's most grotesque weapon on civilians, on children? this is a refugee camp in rebel- occupied territory inside syria. and there are hundreds of them; they dot the landscape. millions of syrians have been forced from their homes. the assad dictatorship is essentially clearing out any part of the country that it cannot control. bombing the hospitals kills the here and now. bombing the schools kills the future, and dropping sarin suffocates whatever might have been left of hope.
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we found abu hassan in a refugee camp with his family, at least what remained of his family. he lost two adult sons and a grandson in the gas at khan shaykhun. ( speaking foreign language ) "my son," he told us, "they brought him to a hospital in turkey and he died. his brother, who came to rescue us, well, he got dizzy, collapsed and he died. my grandson also died." his wife, um hassan told us, "my sons were young and these are their children. what was the fault of these children to live without a father? what was their fault?" how do you explain this to these children? "what can we tell them," she said. "this one was injured with us. i told one, your father is dead. he said, 'don't tell me dad is dead! don't say that dad is dead!'
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but, what can we tell them? how can they understand? we have a neighbor, poor woman, her children, her grandchildren. all 12 in the house died. not a single one lived, not a single one." >> mulet: this is a crime against humanity, using chemical weapons. if we allow this to happen in syria, this might happen somewhere else. and if impunity prevails and people can carry out doing these things without any consequences, this might give ideas to others. and i've said this to the russians. this will happen in many of your own republics in the future, if you don't help to put an end to this right now. >> pelley: but, impunity does prevail. bashar al-assad will soon win the war. he may remain president or step down in the course of negotiations, but, either way, victors never face judgment.
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>> cooper: when a giant photograph of a child appeared looming over the u.s.-mexico border near san diego this fall, art aficionados knew right away it was the work of an artist who calls himself jr. you may have never heard of jr, but his giant photographs have appeared in some 140 countries. sometimes in fancy art galleries, but more often than not, pasted illegally on sidewalks and subways, buildings, and rooftops. plenty of famous artists, like
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basquiat and keith haring, started out scrawling their work on the streets, often in the dead of night, but few have continually displayed their art in public spaces on the scale of jr. this is the photograph that popped up in september along the u.s.-mexico border. a 64-foot-tall picture of a mexican child named kikito, who lives just on the other side of the fence. built on scaffolding on mexican soil, there was nothing u.s. border patrol agents could do about it. it was classic jr. a person's picture, pasted in a public place, that made everyone stop and stare. jr has been doing this kind of thing all over the world for the past 14 years. he put the faces of kenyans on rooftops in a nairobi slum. in cuba, where oversize images of castro and che are the norm, jr put up enormous pictures of everyday people on new york sidewalks, and istanbul buildings.
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in tunisia during the arab spring in a looted police station, jr has pasted his pictures, often without permission, and at risk of being arrested. we met up with jr in a suburb of paris, in front of a giant mural he'd made out of photographs of more than 700 local residents. we don't know his real name, and that's just how jr wants it. in public, he never takes off his glasses or hat. there's a practical reason for it, but a little mystery also builds mystique in the world of art. what we do know is that jr is 35 years old, and was born in france, the child of tunisian immigrants. i don't think i've ever done an interview for "60 minutes" when i didn't actually know the name of the person i'm interviewing. ( laughs ) you're not going to tell me your name? >> jr: would it help, you know? i mean, in a lot of countries-- >> cooper: it would help me. ( laughs ) >> jr: in countries where i got arrested, you know-- >> cooper: it's important for you to be anonymous? >> jr: yeah. because unfortunately when i
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travel in lot of other countries where what i do, just paper and glue, is not considered as art, i get arrested, deported, put in jail-- >> cooper: what-- what's art in one country, is a jailable offence in another? >> jr: exactly. >> cooper: jr's been committing jailable offenses since he was a teenager. he says he was repeatedly kicked out of high school, and would sneak out at night with friends, spray painting graffiti in hard- to-reach areas. graffiti, or tagging, what was the appeal of that? >> jr: we all have that sense of "i want to exist. i want to, like, show that i'm here, that i'm present." >> cooper: graffitiing was saying, "i am here. i am a person." >> jr: exactly. "i'm here, i exist." >> cooper: his foray into photography began, he says, by accident. >> jr: i found a camera in the subway. yeah, a tiny camera. >> cooper: you really just found it? >> jr: yeah, no, it's true. and it's funny, because a lot of friends tease me, "yeah, right, you started your career, stealing a camera." >> cooper: i'm not sure the police would believe that story, but-- >> jr: i know, but-- >> cooper: some things are true? >> jr: ( laughs ) exactly. and at some point, i realized i was not the best in graffiti.
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( laughs ) you know? i had the balls to climb any building you want, but i would not do the craziest piece. but i was with friends who were amazing. then reali, "wait, let me document the journey." >> cooper: the journey of it? >> jr: yeah. so i went from "i exist" to "they exist," and i realized the power of that. >> cooper: once photography got into the picture, it was about these other people exist? >> jr: exactly. >> cooper: they exist. >> jr: they exist. ( speaking french ) >> cooper: many of jr's friends in this paris suburb whom he began taking pictures of, felt they didn't exist in the eyes of french society. most of those who live in this neighborhood are of african or arab descent, first or second generation immigrants, and few wealthy parisians ever venture here. in 2005, riots broke out in this neighborhood after two kids died while being chased by police. the violence spread across france. jr saw how the young people in this suburb were being portrayed on television, and decided to use his camera to tell a different story. >> jr: you would see the riots,
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everyone had hoodies. and then, so any kids coming from the suburb would look like a monster to you. so that's when i started photographing them from really close, and i said, "i'm going to put your name, your age, your building number on the poster, and i'm going to paste it in paris, where they see you as a monster. and actually, you going to play your own caricature." >> cooper: why play your own caricature? isn't that feeding a stereotype? >> jr: it's actually-- by feeding it, it breaks it, and i wanted them to be in control of their own image. >> cooper: and you wanted people in paris who maybe had never been to this neighborhood to understand, what? >> jr: the humanity. when you look at those faces, it makes you want to smile. by playing the monster, they don't look like monster anymore. >> cooper: jr enlarged the pictures and printed them out, and with friends, began pasting them up illegally at night around paris. most were immediately taken down, but the mayor of one parisian district gave jr permission to paste them on a wall outside a museum. it was jr's first official public art exhibit. he was 23 years old. >> jr: the people from paris
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would go in front of those pictures and take a photo of themselves with them. and people were trying to find who is who, and get a photo with them, where they're supposed to be the monsters that are about to invade paris. so it kind of break the tension that there was. >> cooper: the idea of breaking tension through photography was a revelation to jr. in 2007, with money saved from odd jobs, he decided to head to israel. ( shouting and gunfire ) it was after the second intifada, and his plan was to paste photographs on the wall separating palestinians and israelis in the west bank. >> jr: so i started making a list of people doing the same job on each side: hairdresser, taxi driver, security guard, teacher, student. and then i would go and i would say, "look, i want to paste you playing your own caricature of how the other sees you, but i would paste you with the other taxi driver." "oh, yeah, sure. yeah, take my photo. but the other guy, he is never going to accept. they're c-- really close-minded. they're never going to accept." and when i go there, same thing.
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>> cooper: each person on each side said, "i'll do it, but the person on the other side won't do it." >> jr: exactly. >> cooper: before he could begin pasting the photographs, jr and his team were arrested by israeli authorities for not having a permit. they were loaded into the back of a wagon, and hauled off to jail. after some questioning, they were released and given 15 days to leave the country. instead, jr went to the palestinian side of the wall and began to paste. >> jr: i paste a giant photo of the taxi driver, and the second photo of the other taxi driver. and you know, a crowd of people very quickly, big crowds. and then the first guy asked the question-- "but, my friend, who is this people?" i say, "oh, one is israeli and one is palestinian." and then you have a big silence on the crowd. and i say, "so who is who?" and they couldn't even recognize their enemy or their brother. ( singing "fraicheur de vivre" ) >> cooper: on the israeli side, to ensure he wouldn't be arrested again, jr announced the
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day and time he was going to put up his photographs. he says so many reporters and onlookers showed up to watch, the authorities decided to just let him go ahead with his project. the attention he got from his work in the middle east and france led to some sales of his photographs, which then allowed him to begin to travel further afield. over the next few years in kenya, liberia and sierra leone, he focused his lens on women-- heroes, he says, who are often treated as second-class citizens. he photographed women's faces, and placed them where they could no longer be ignored. a kenyan woman named elizabeth kamanga asked jr to paste her picture for all the world to see. >> jr: the woman ask me, "make my story travel." >> cooper: have my eyes, my story travel around the world. >> jr: they want someone that they never heard of to hear, like sending a bottle in the water. >> cooper: her story did travel, thousands of miles around the world. jr pasted her eyes onto a container ship called the
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"magellan" that spent months at sea. ( dogs barking ) in 2008, he ventured into providencia, the oldest favela in rio, a slum perched on a hillside controlled by a well- armed gang of drug dealers. jr photographed an elderly woman whose grandson was murdered by a rival gang. she agreed to let him paste her image on the stairs leading into the neighborhood. did you have permission from any-- from the gangs, or... ? >> jr: no, from nobody. from nobody. we start pasting the stairs like that, great vibe, kids playing, you know. we're just pasting on the stairs. after ten stairs, huge, like, fights of gun. ( gunfire ) and like, it starts going from all over. ( imitates gunfire ) ( gunfire ) >> cooper: jr and his team were caught in crossfire between police and gang members. >> jr: we run and we hide, like it's the last day of my life. and the next day, we came back and we kept on doing the stairs. and i think that what made the
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people in the community realize that, okay, we're not just here for a minute. and, that first time, when that woman was pasted on the stairs, everybody in the community understand what the project was about. it was her, she was standing there, straight and looking strong. >> cooper: her photo covered 80 steps, and after that, other residents allowed jr to post their faces and eyes on the sides of their homes. a display of strength and dignity, he says, that could be seen from the wealthier neighborhood below. that word, dignity, to you is important. >> jr: you know, the people made me realize it's important in every single pasting. >> cooper: dignity is something that all of us want-- >> jr: all of us, anywhere-- >> cooper: --no matter what, any walk of life? >> jr: --no matter the background. >> cooper: why? because the issues people are facing are life and death? >> jr: yeah, of course. dignity goes through the way we're being seen by the others, the way we portrayed ourself. >> cooper: i think some people hearing that are going to say, "look, you're telling me that people, you know, who don't know where their next meal is coming from, who are struggling to survive-- care about art?"
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>> jr: you know what? yes. >> cooper: if you are wondering how jr pays for all these projects, so were we. ( speaking french ) he now has a team of about 16 people working for him, out of studios in paris and new york. he doesn't like to give details of how much his projects cost, but some of the money comes from the sale of limited edition prints of his work. he doesn't accept any sponsorship from corporations, but he does have wealthy art patrons who help him out. >> jr: there is amazing people out there. there is people that support me. there's someone that gave me a building to put my studio that i don't pay rent, so i don't have to look for sponsors. there are amazing people that i call the shadow philanthropists, the people who really want to change-- >> cooper: shadow philanthropists? >> jr: yeah. and that don't look for return. they don't get into philanthropy to get more credit. >> cooper: jr's work may focus on other people, but it's also made him a celebrity in his own right. he has more than a million
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followers on instagram, and routinely is seen in the company of rock stars and other artists. last month, a documentary jr directed, called "faces places," was nominated for an oscar. >> jr: can you pass me up the glue? >> cooper: fame has its benefits. jr doesn't always have to sneak around now. he is often allowed to display his work. so when were you doing the work inside? a few months ago on ellis island, in new york harbor, the national park service let him paste old photographs of immigrants at this abandoned hospital. >> jr: that's the little girl. >> cooper: and what does it mean? >> jr: you know, i just try to do art in places that it would raise questions, rather to give answers. >> cooper: jr is now encouraging others to raise questions by pasting their own photographs. he has a website where groups of people with an idea or a cause can send in their pictures. he says he'll enlarge and print them, and ship them back. jr-inspired images have so far been pasted on walls in dozens of countries around the world.
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are you still an artist, if you're not taking the photo and you're just printing stuff up and sending it out to people, and they're putting it up? >> jr: i don't know. i mean, i am. as i'm as much as a printer, then i'm a photographer, then i'm a wallpaper man. you know, that's what i do-- anderson cooper: you're a wallpaper man? >> jr: at the end of the day, i- - i wallpaper buildings. you know? that's what i do. so that's why i think the title, "artist," is the most prestigious title i'll ever get, because, you know, the truth is i paste buildings. >> jr's hidden message on ellis island. >> did anyone notice? island. >> did anyone notice? >> jr: i don't think so., sponsored by pfizer. because there are options. like an "unjection™". xeljanz xr. a once daily pill for adults with moderate to severe ra for whom methotrexate did not work well.
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>> whitaker: jennifer lawrence is one of the most popular, highly paid actresses in hollywood, one of the biggest movie stars in the world-- and she's only 27. she's the youngest actor ever to be nominated for four academy awards. she won once for best actress. she can give dramatic performances, or romp through madcap comedies, a range that gets her compared to katharine hepburn and meryl streep. she took an unconventional path to hollywood, a risky and surprising part of her story. we found a young woman with a fiercely independent spirit, living a life she could only have dreamed of, growing up in louisville, kentucky. how did you get from kentucky to the top of hollywood? >> jennifer lawrence: desperation. an appetite.
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confidence. and ambition. >> whitaker: you really wanted this. >> lawrence: i knew if i just was given the chance, that it would work. i just knew. >> whitaker: but not even she knew it would work so well. for a decade in hollywood, she has been defying odds and breaking barriers. at 21, she shattered the myth that women can't carry an action franchise. her four "hunger games" movies earned almost $3 billion. she made three comedy-dramas in as many years playing unforgettable, flawed, resilient women: >> tiffany: hey! >> pat: whoa, hey. >> whitaker: tiffany, a young widow in "silver livings playbook." >> tiffany: you are not a stand- up guy right now. if it's me reading the signs. >> pat: you reading the signs? >> tiffany: if it's me reading the signs. >> pat: you reading the signs. oh, okay.
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>> whitaker: in "american hustle" she played rosalyn, a looney, long island housewife. >> rosalyn: you fell in love. don't you dare forget that part. we fell madly in love. >> whitaker: and in "joy," she was a desperate mother-turned- entrepreneur. >> joy: it's the only mop you're ever going to buy. the best mop you're ever going to use. >> whitaker: she earned academy award nominations for all three movies... >> tiffany: i'm just the crazy slut with a dead husband. ( laughs ) >> whitaker: ...and took home the best actress oscar for "silver linings playbook." >> pat: hey, tiffany. >> whitaker: but jennifer lawrence is not one to rest on her laurels. >> lawrence: i am hard on myself. ( laughs ) >> whitaker: why? >> lawrence: i get paid, a huge amount of money to be able to do what i love. >> whitaker: so you're the one putting this pressure on you? >> lawrence: yes. too many people sacrificed so that i could be here. my parents, you know, changed their entire lives to support me.
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and i, i worked too hard to get here to be stupid about it. >> whitaker: lawrence's father owned a construction company. her mother ran a summer camp. she told us her two older brothers pretty much ignored their annoying little sister. >> whitaker: did you used to play act when you were growing up? >> lawrence: ( laughs ) oh, yes. i was constantly performing. we just didn't know that that meant i was an actor. i just thought, you know, i was a weirdo. >> whitaker: but i understand that you pretended to have a problem with your leg at school? >> lawrence: who told you that? >> whitaker: we've got our sources. ( laughs ) >> lawrence: in school, i told everybody i had a wooden leg. and i, like, walked in a very consistent limp. like, incredibly consistent. and when my mom came to get me from school, my teachers were, like, "it's awful what happened to jennifer's leg." and my mom was, like, "she does not have-- she's-- her leg has not been amputated." i used to just invent stories just to invent them. >> whitaker: she used zany
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antics to hide the fact she was a poor student, hyperactive, didn't fit in. she could drive her parents crazy. >> lawrence: my parents were just-- you know, they would go through periods of time where they just wanted me out of the house. and it was called a lockout. and so i'd go to the door and it was locked. and i'd be like, all right. i've got to find something else to do until my parents were ready to deal with me again. >> whitaker: but you were a handful? >> lawrence: i was a handful. and i got it. we never fought about it. ( laughs ) i've always been very self-aware about my annoyingness. >> whitaker: she told us she felt lost in school and dreamed of becoming an actor. at 14, she badgered her parents to visit new york, where improbably, she was discovered by a modeling scout, then given some scripts to read. >> lawrence: i struggled through school. i never felt very smart. and, when i'm reading this script and i feel like i know exactly what it would look like if somebody felt that way, that
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was a whole part of my brain that i didn't even know existed. something that i could be confident in. and i didn't want to let it go. >> whitaker: what was it you wanted so much? >> lawrence: it's so hard to explain. it was just an overwhelming feeling of, "i get this. this is what i was meant to do." and to get people to try to understand that when you're 14 years old, wanting to drop out of school and do this, and your parents are just, like, "you're out of your mind." >> whitaker: did you finish up high school? >> lawrence: i dropped out of middle school. i don't technically have a g.e.d. or a diploma. i am self-educated. >> whitaker: do you regret that? >> lawrence: no. i really don't. i wanted to forge my own path. i found what i wanted to do, and i didn't want anything getting in the way of it. and even friends, for many years, were not as important to me as my career. i mean, from the age of 14. >> whitaker: that stubborn
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determination landed her a role in a sitcom. when her parents saw her happy and focused for the first time, they agreed to accompany her to hollywood. she never went back to school. >> ree: spell "house." >> whitaker: at 18, she wrangled the lead in a small, bleak independent film called "winter's bone." >> ree: i don't know what to do. >> whitaker: it was a breakout performance, that earned her first oscar nomination. there's not a lot of dialogue, but yet your presence fills the screen. >> lawrence: it was really just feeling, believing, you know, in this situation. look at it through her eyes. and then that's always going to come across in your eyes, in your face, in your-- in your body language. >> whitaker: that empathy. you can channel that into acting. >> lawrence: yeah. i mean, that's how i act. that's really my only tool, i think. >> whitaker: no acting training? >> lawrence: no. >> whitaker: it's just empathy?
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>> lawrence: yes. >> whitaker: is that difficult or easy for you to do? >> lawrence: it's easy. >> whitaker: to just let go of jennifer lawrence-- >> lawrence: yeah, because, that's when you get the high. that's what i crave, that really getting lost into something, being almost possessed by another emotion. that's the adrenaline rush, that's the high that i can't live without. >> whitaker: in her new movie, "red sparrow," lawrence stars as a russian ballerina, coerced into being a spy. it calls for nudity, something she thought she'd never do, after she was traumatized when her most private pictures were hacked in 2014 and spread across the internet. you told us that you didn't like doing movies with a lot of sex in it. but "red sparrow" is all about sex. why'd you change your mind? >> lawrence: i read this script that i'm dying to do, and the one thing that's getting in my way is nudity, and i realized,
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there's a difference between consent and not. and i showed up for the first day and i did it. and i felt empowered. i feel like something that was taken from me, i got back, and am using in my art. >> whitaker: and that hacking incident, did it just vaporize? >> lawrence: it didn't vaporize. power out of, out of having my-- my body taken from me. i felt like i-- i took it back and i could, and i-- and i could almost own it again. >> whitaker: are you worried that audiences won't see it the way you see it? >> lawrence: i was, but it doesn't matter. it's my body and it's my art and it's my choice. and if you don't like boobs, you should not go see "red sparrow." ( laughs ) >> whitaker: after making two
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movies a year since the age of 20, lawrence is taking some time off. >> lawrence: ah-ha. hi-ho silver. >> whitaker: she wanted to go fishing, something she's always found relaxing, so we found a trout lake in anaheim. ( laughs ) here, away from paparazzi and the pressures of celebrity, we found her playful and fully aware she's a 27-year-old in a high wire act, with the whole world watching. it's problematic for you to go out into the public? >> lawrence: i just have to, like, prepare a little bit. it's always the one day that you look like crap that a paparazzi just jumps out from behind a car and you're like, "oh, i looked so cute yesterday." ( laughs ) >> whitaker: does the fame sort of lock you in? >> lawrence: it does, but, like, my favorite activity is sitting by the fire, drinking wine with my girlfriends. that's why you're coming. >> justine ciarrocchi: it's girls' night with bill. >> lawrence: it's a girly, girly night with bill. >> lauren wells: this is good! >> whitaker: she invited us over to meet her three closest
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friends: laura, justine, and lauren, they've known her since long before she became a movie star and she says they keep her sane. >> whitaker: so you're, like, her rock, her foundation? >> ciarrocchi: we are her security guards. ( laughter ) ( crosstalk ) >> lawrence: they're-- they're much more security. >> laura simpson: yeah, emotional security guards. >> lawrence: yeah. >> whitaker: they tease her. >> simpson: no, she cannot dance. >> wells: i told her. i told her the other day. i'm like, "you know your classic dance move." she got so mad, and she said, "i don't do that." >> lawrence: i don't dance like that. >> wells: and then she goes, "wait a second." >> lawrence: "this feels like home." >> whitaker: when jennifer left the room, her friends conspired. >> ciarrocchi: ooh should i bring him the self-portrait? >> whitaker: it was a masterpiece she'd painted at 16, a self-portrait. >> lawrence: no. no. oh my god, no. >> whitaker: what is it? ( crosstalk ) ( laughter ) >> simpson: oh my god. >> lawrence: i did not know it was going to go that far. i mean, that was-- that was really bold. >> whitaker: you literally
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jumped over me, to get to this picture-- >> lawrence: sorry about that. god, talk about laughing therapy. >> whitaker: that seems to be kind of central to who you are. >> lawrence: laughing? >> whitaker: the laughing and the fun and-- >> lawrence: oh, got to have it. >> whitaker: you got to have it. >> lawrence: i got to have it. >> whitaker: it's her defense against the brutal, cutthroat side of show business, which has been on conspicuous display recently, with shocking allegations of sexual harassment and assault. lawrence has added her voice to the "time's up" movement, and spoke to us about harvey weinstein. he produced her oscar-winning movie, "silver linings playbook." was he ever inappropriate? >> lawrence: no, he was never inappropriate with me. but what he did is criminal and deplorable. and when it came out and i heard about it, i wanted to kill him. the way that he destroyed so many women's lives. i want to see him in jail. >> whitaker: she was one of the
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first to speak out publicly about pay inequity in hollywood. when it got out three years ago that her male co-stars in "american hustle" had been paid more than she had, lawrence wrote an essay, blaming herself. >> whitaker: why not blame the studio? they're the ones who didn't pay you. >> lawrence: because i didn't fight hard enough. it was my own mentality that led me to believe that i didn't deserve to be paid equally. >> whitaker: would you do that again? >> lawrence: ( laughs ) no. >> whitaker: you feel you know your worth now? >> lawrence: i feel i know my worth, and i feel like i work to keep it that way. >> whitaker: does that translate into money and power? >> lawrence: yeah. i can work with directors who i've admired for a very long time and get a screenplay written. i have an amazing career, bill. ( laughs ) >> whitaker: but you do. >> lawrence: there's a lot of risk, too. this is right now. this, it's all very temporary. hollywood is very fickle. >> whitaker: what are you--
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you're like the flavor of the month? >> lawrence: yeah, i could be. if the next few movies don't-- don't do well in the box office, i won't-- i won't-- i won't get paid the same. that's the way it works. if you can't prove that you-- that you deserve that number, then you're not going to get it. so it's very fickle. so i don't want to sound like i'm on a high horse, because i might be on a tiny little shetland pony in a month. ( laughs ) >> this cbs sports update is brought to you by the lincoln motor company inch palm beach gardens florida, justin thomas byrdied the first hole of the playoff to win his eighth career tour win inch college basketball, miles bridges cleared to play after being named in a report of alleged improper benefits helped michigan state clinch the big 10 regular season title. for more sports news and information, go to jim nantz reporting from palm beach gardens.
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>> whitaker: 50 seasons of "60 minutes." this week, from the last sunday of february, 1999: bob simon interviewed the exuberant italian actor-director roberto benigni, who told bob what happened when he met pope john paul. >> roberto benigni: i jumped on him. oh, oh, i was so full of energy and enthusiasm, say, and i called him "dad," like, like pinocchio, "babbo." and i... >> simon: you jumped on the pope? >> benigni: yeah, and i told him, "babbo," "father" in, in-- how do you say?-- slang. no, it's like, really, a little boy, "babbo," which means "dad." dad, finally found you again. i have been-- i have been so bad
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in my life! i-- and i kissed him here and here and here, and everywhere i kissed him. >> simon: when you jumped on the pope, was he surprised? >> benigni: very surprised, and- - but he, he like it because he told me, "you are very italian." >> whitaker: i'm bill whitaker. we'll be back next week with another edition of "60 minutes." real cheese people get it. that post lunch, post dinner, i need something sweet craving. sargento sweet balanced breaks,
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julie: from wild competitions to epic blindsides to national headlines, tonight the craziest three weeks in big brother history come to an end. five celeb rirts are left in the house but only one can win the quarter million dollar grand prize. welcome to the live two hour season finale of celebrity big brother. (cheers and applause) >> previously on celebrity big brother. a double eviction first sent the housewife back to beverly hills. julie: by a vote of 3-1, brandi, you are evicted from the big brother house. >> thank you. >> but before the second v,


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