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tv   Charlie Rose  PBS  April 24, 2013 11:00pm-12:01am PDT

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>> rose: welcome to the program. we begin this evening with the grand master of chess from norway, magnus carlsen. >> i think it's always better to be overly confident than pessimistic because i realize sometimes after games that, you know, i was actually way too confident here. i was way too optimistic. but if you're not optimistic, if you're not looking for your chances, you're going to miss opportunities. and, you know, -- >> rose: i hear you. >> i think there are plenty of players in history who have been you know, immensely talented but
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there's -- they're just too pessimistic, they see too many dangers that are not there. >> rose: we conclude this evening with the c.e.o. of pair mount pictures, brad grey. >> and i thought pair paramount pictures with all of the folks that work there and all of the history of the company, i thought that was something that just was kind of an opportunity of a lifetime. and i cherish the opportunity. i'm honored by the opportunity and i love the opportunity. and eight years later, now that i really have some sense of the rhythm of running a tion picture studio and knew there's a team there that's, frankly, better than i am, the folks that i work with, which is always the key, surround yourself with people -- >> rose: smarter than you are. >> brighter than you are. it wasn't that hard for me. but i was able to do that and it's a joy. it's fantastic. it's a great job and i'm
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privileged to have it. >> rose: magnus carlsen and brad grey, next. captioning sponsored by
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rose communications from our studios in new york city, this is charlie rose. >> rose: chess grand master magnus carlsen is here. he has been called the mozart of the game. the 22-year-old norwegian is th highest ted player in the world. earlier this month he won the candidate's tournament in london which featured eight of the world's best players. he will take on the reigning champ from india in the world chess championship later this year. "60 minutes" chronicles his dramatic ascent last year. >> last december we caught up with him at the london chess classic. he is with his constant companion, his father. magnus will play against eight other top-ranked players but he is the star, as celebrated in this world as eli manning is in his. >> the world number one player from norway, magnus carlsen!
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(applause) >> reporter: today magnus is playing america's number one. the match will last for hours and there will be no breaks. magnus will go on a stroll now and then but his mind won't be going anywhere. he says he's concentrating not only on this game but on other games played by other masters at other times which you might want to draw onow. ,000 of them. chess players are pretty poker faced. but occasionally magnus will flash the smile of someone who knows it's all over but the hand shake. while knack moira dives deeper into tune. magnus was playing brilliantly and he knew it. is there anything in life more satisfying than that feeling when you're playing brilliantly? >> i don't know. but it's really, you know00 up there. >> reporter: it's pretty good? >> yes. >> rose: magnus was chosen as "time" magaze's 100 most
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influential people in the world. gary kasparov writes if carlsen can rekind it will world's fascination of the royal game we will soon be living in the carlsen era. i'm pleased to have carlsen at this table. welcome. >> thank you. >> rose: good to have you here. somebody brought this in and we will maybe have you show us something. but more importantly i think it is that -- why do you think you are so good? what is it about you? what is it about your experience? what is it about your game? >> i really, really wish i knew. >> rose: (laughs) maybe i will in, you know, 20, 30 years when i'm older and wiser. right now i know that -- you know, i've spent a lot of time on chess, obviously, and i've developed a feeling for the game. i calculate well and so on. but there are also many others
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who put in the same hours, having the same dedication. sot's har to say. but what i do know is that the game somehow comes naturally. >> rose: when did you discover that? >> >> i think pretty early on. i -- you know, i was spending a lot of time on chess and somehow i kept improving at the high rate while the other players at my age that i was competing against -- >> rose: you were beating all of th and mong ahead? >> yes, exactly. and then -- and, you know, it was always fun and while not effortless, nevertheless things were going well. >> rose: what is it about chess you love? >> it's hard to say.
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i do know that once i got into chess i was fascinated by the game and i spent a lot of time on it simply because that's what i love to do. i don't know what it was about it. i really don't know. >> rose: but what's interesting about chess tse that you can go and quickly recall all the great games that have been played in the history of chess. >> yeah, that's -- that's the great thing about chess that, you know, there are other changing circumstances. but it's always the same so we can always -- although, you know, the possibilities are endless. you can always, you know, write it down and the games will be preserved for eternity both for learning and other. >> rose: when you put your hand on the piece what do you feel?
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and as you think you're -- as you think about the move you're about to make does it feel more than moving like a piece of wood or does it feel like you are a general in a battlefield and you are making a strategic choice? >> yeah, i mean, i don't know. i think one thing is -- you can reallyell from whether, you know, players are professionals or not by the way they move their pieces. >> rose: show me what a professional does. >> no, i mean before the game you would kind of adjust the pieces so that, you know, everything's in harmony. and that the pieces are more or less in the middle of the squares. >> rose: yours are so perfectly place, yes. you set this board up. >> yeah. it's like when i move a piece like i would -- you know do it
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very quietly and put it right in the middle of the square and of course there's usually a plan with what i do and i try to direct my pieces so that i work together in harmony and that's very important. >> rose: can you -- your best matches you can replay in your mind instantly? >> yeah, more or less. >> rose: morlsz. and great games in which imposing champions have played against each other, i assume you can replay those as well? >> yeah, i mean i can -- i might not remember every single move but i'll remember the critical positions and the general feeling of the game, what happened there and so on. >> rose: there's a great hope in you, that kasparov has suggested
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at sehow yarr the possibility of igniting a new interest in chess. do you feel that? >> um, i don't know. but i think it's very exciting prospect because -- i mean, i wasn't around for the bobby fischer era. >> rose: boy, it was intense. >> if i could be part of something even remotely similar to that, that would be great. so what i'm trying to do is just play well and try to inspire people as much as i can. >> rose: "the guardian" said about you "his style is harmonious, uniquely versatile and backed up by a fierce will to win." that resonates with you? >> yeah, i've always been competitive and i never liked losing. i never thought that losing is a
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natural part of the game and i think that's the way it has to be if you want -- >> and it's a very ugh ponent >>ose: yeah. >> rose: and you say the word "check mate." >> well, i won't actually say the word check mate." >> rose: you say check. >> yeah and they realize -- >> rose: you can see in the their face? >> that's the good feeling, obviously. but i mean for me what's even more satisfying is the battle leading up to the point where you're gaining an advantage, you're -- >> rose: the route to the vantage? >>es. and your opponent is spending a lot of time making faces and you know that you got him. >> rose: you know they're struggling. (laughs) >> and that's in a way the most satisfying, more than the end
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which is often, you know, a matter of wrapping up. >> rose: wrapping up, it's over. >> yeah. >> rose: (laughs) what about this fact that some people call you the mozart of chess? creative, brilliant, young. a master of all that he sees. >> i don't know. i think -- you know, it's not the worst person to be compared to. >> rose: (laughs) no, it's pretty good. >> and i think also mozart had a very natural talent for what he was doing. and ke m i think he practiced a lot from from an early age and that's -- you know, eventually
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that that's what you do, you learn everything there is to learn and then you start to invent yourself. >> rose: (laughs) >> rose: kasparov said again that you have a way of strangling your opponent. >> yeah. >> rose: (laughs) >> again, that's very satisfying to me when you're -- you know, you know your plan is working. it might not be immediately decisive but you're just piling up the threats. >> rose: you can feel it. >> yeah, you can feel it and that's the way i like to play about that's the way i try to -- >> rose: here's what's interesting to me, too. your world is within these boundaries. this is where your world is. >> well, that's what i do. >> rose: that's what you do.
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>> rose: and the question is how long can you do it? because you've said a very interesting thing. when you cannot play at a certain level you will not want to play. >> that's -- yeah, that's my feeling right now anyway. so i think that i will play until i start -- i lose motivation and that's very important to me. and i think if i come to a point where i feel that i cannot perform at the very high level anymore -- >> rose: that won't be fun or interesting. >> it will do something with motivation. >> rose: so can you-- and if you can how-- take the game to another level? do you have the capacity to create moves, to do things on a chess board that have not been done before? >> i don't know. i mean, i have -- >> rose: already done that?
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>> no, but i have t jut st respect for the masters of the past and they've -- you kn, they've uncovered many of the secrets in chess so i think for me my main task is just to try and make slight improvement to amass all the knowledge and try to all the time use that and improve a little bit. so i don't know yeif i'll be able to do something revolutionary but -- >> rose: but that would be a grand ambition, wouldn't it? >> it would. and it's not an ambition i have yet. as for now i'm satisfied just trying to move it a little bit ahead in small steps and i think that will be a great thing as well. >>. >> rose: how will you prepare
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for anon? >> i don't know. because i think a lot of the things that i'm doing right now are working out. think that fair to sa >> rose:laug) yes, it is. >> so i'll try not to -- >> rose: just continue what you're doing? >> yeah, and make some small improvements, be a little bit sharpener the openings, be a little bit better physically prepared, be a little bit better at everything and try also not to overfocus on preparation. >> rose: you'll know him like -- everything about him you'll know. you're inside his head. >> no, i mean i think he will do -- y kw,ewill do the same. the only difference is that it won't be enough. >> rose: (laughs) he does not have enough to beat you? >> i mean, that's -- you know, that's my belief that i can -- that i can beat anyone. otherwise there wouldn't be any point in me playing the match. >> rose: (laughs)
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you believe -- how long will it take you to beat him? >> >> you know, i think the length of the match will probably be 12 games. so it's firsto siand half points so if i get there in the end i'm going to be very happy no matter how long it takes. >> rose: (laughs) show me the magic of the game. there's lots of talk about an opening. >> yeah. >> rose: let's assume that i'm -- i play a little bit of chess. but talk to me about the significance of the opening. because there are classical openings that carry the names of great chess masters. >> i think in the opening it's impoant to -- i mean, with the computer age there are some new ideas and such but the principles are basically the
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same that in your opening you should try to control as-m of the central squares as possible because from the center you can more easily maneuver to either side. >> rose: so chess is about owning the center? >> yeah, i mean, most of the time it is. like, you know, in a battlefield if you can see to each side you can control everything more easily. well, if you're stuck on a flank you're much more vulnerable. >> rose: do you read beyond chess? do you read history of napoleon, history of great battles? does that have any fascination for you? >> yeah, i did read when i was probably eight, nine years old i read a lot about napoleon. maybe notor -- so much for chess strategy as much as i thought it was --
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>> rose: an interesting dude. >> yeah. i mean whatever he did it was obviously not cool but -- >> rose: but an interesting figure history. >> absolutely. >> rose: now you have on your jacket there v.g. here, arctic here, simonson there. are you a walking, talking advertising machine? >> no, it's just that, you know, these are my sponsors and i'm proud to be involved with them and, you know, i think chess doesn't have that many corpse sponsors and for there to be a good sir cut of tournaments we need corporate sponsors. so that's good. >> rose: (laughs) yes.
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yes. i mean, you really are carrying -- the carlsen era will be here if in fact you are able to do the things that people expect you to be able to do. so the idea of getting ready for a match, you know, as confident as you are, do you play with -- will kasparov add to that preparation? or has he already done what he can do to make you as good as you are? >> i will certainly ask gary for advice and actually i already have. >> rose: (laughs) because hehas suchgreat experience and because -- >> rose: he's pretty good. >> and, of course, he's such a wonderful player as well. >> rose: but i ask you to name the greatest players in the world and you didn't name him. >> no, but you asked me to -- as i saw it to name the most nation naturally talented players. >> rose: (laughs) okay, that's good.
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one for you. >> for the greatest players of all time there's no doubt in my mind that gary's the best. but he had the unique combinatn. he had a lot of talent but he also worked extremely hard all his life and he probably still works more on chess than -- >> rose: now he's got a political career. >> yes, but he still -- you know he still loves the game. >> he still has it? >> it's been a few years since i played with him but i can tell you that five years after he retired he was still damn strong. >> rose: so at one what point could you take him? one yearfter retirement? two years after retirement? before he retired? >> i don't know. i think, you know, me right now and gary at his peak that will be -- >> rose: a high caliber match.
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>> yeah, that would be -- >> rose: that would be it, wouldn't it? the greatest player in the world which you've said he was and you said others had more natural ability, i'm not sure what you meant by that, but creative. (laughs) you would like to -- i mean, that would be -- to think in your head about him at his best and me at my best that would be some match. >> yeah, and it would also be a clash of styles because, you know him at his best, he was so -- you know, he was not the strangling type of player. >> rose: he was what? >> he was the knockout kind of guy. >> rose: explain difference in that because you obviously know it. >>t's re like i try to wear my opponents down gradually, rob them of any active play and win venn usually.
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>> rose: (laughs) a slow death. >> yeah. and he -- i mean he could do that as well, obviously but he was so strong in the opening and he played so aggressively and with such power that his opponents often crumbled much before a slow death started to become an issue. >> rose: so why don't you adopt his yle? because we have different kinds of chess talent, i think. >> rose: talent? so how would you characterize the difference in the talent. the talent, not the results but the talent. >> it's just i have that a great talent naturally for what you might call positional chess and he for more attacking aggressive chess and, again, i think we can both do a bit of both but, you
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know, that's a definite strength and i think that comes from talent, how you were brought up, how you were taught to approach the game. >> rose: do you believe that it has anything to do that you're from norway and he's from russia? >> um, it might. it might. so -- >> rose: or it might have someone who taught you early. >> yeah. so -- but it's also with his character that, you know, that the way -- >> rose: he's not a shrinking violet, as they say. >> no. >> rose: but every champion has to have confidence. you have to look at the board -- i'm putting words in your mouth but it seems to me they come to define you. you've got to look at the board, as you said about annan, i'm going to take you down. this is going to happen.
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>> you need to be absolutely confident and i think it's always better to be overly confident than pessimistic because i realize sometimes after games that, you know, i was actually way too confident here. i was way too optimistic. but if you're not you're going to miss opportunities. and i think there are plenty of players in history who have bee immensely talented but there's -- they're just too pessimistic, they see too many dangers that are not there and so on so that they cannot perform -- >> rose: see, that's very interesting. they see dangers that are not there. so therefore they don't play at the highest level. >> yeah. no, it's just that -- it's
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amazing i realize from time to time people who are not particularly strong players but ill they're ry good players but they could be one of the best if they just, you know, had more confidence and i'm analyzing with them when i'm looking at chess i realize, you know they know everything about about the game but nevertheless they cannot play. >> rose: it's a missing thing. like a winner's edge? >> yeah, you need to have that. you need to have that edge, you need to have that confidence, you need to have that absolute belief that yore the best and willin evy time. >> rose: are you born with that? >> i don't know. >> rose: are you born with something so that when you've learned chess those two things merge? you have confidence and once you had the skill it is confidence served your skill and your skill served your confidence.
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>> rose: it didn't come meetly for me. >> rose: what age did it come? >> i think it only came a few years ago. >> rose: how old are you now? >> i'm 22. so i think at about age 16 or 17 i realized, you kw,hat i'm -- >> rose: you realized what? >> you know, that i'm -- i'm probably going to be the best at some point and i need to show that. i need to be more confident and take a different approach because before that sometimes i would be -- i would be too ssimtic. ke i was -- >> rose: you're describing the other them? >> yeah. and at first that was -- that changed in approach was a total
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disaster. i would lose zefrlg games because i would constantly overestimate my chances but eventually that became a good thing because when my playing strength caught up to my amount michl -- >> rose: yes, exactly! well said. >> than that was it. >> rose: (laughs) that was it. i love the id that at 16 you knew that you were going to be the world champion. you just knew. >> i didn't know but i had a good idea, yeah. >> rose: lavs lafs because you were beating everybody or because -- >> no, it's just a feeling i had because before that i was always surprised at how far i was going and then, you know, at that point i realized that now is
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time. >> rose: you much understand this. i don't want to embarrass you but you must understand this following idea because of your talent first, experience second the way you look, your personality, this could be huge. this could be huge. i mean, you could be -- you are but you could be an international figure really in the world of chess incomparable. >> you know, i hope so both for myself and -- >> rose: and for the game. >> and for the game. >> rose: it's a great pleasure to meet you. >> thank you very much. >> rose: magnus carlsen. back in a moment. stay with us. >> rose: brad grey is here, he is chairman and c.e.o. of paramount pictures, the iconic movie studio has produced memorable films including sun set boulevard, breakfast at tiffany's, the ten commandments
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and "titanic" just to name a few. paramount celebrated 100 years in cinema last year. there are opportunities and challenges ahead for the industry in the 21st century, how we experience entertain system being rethought and reimagined and the growth of a global middle-class has given rise to theater goers attending movies for the first time around the world. in 2012 china became the planet's biggest source of box office dollars outside the united states so i'm pleased to have brad grey back at this table. welcome. >> thank you. >> rose: good to see you, sir. >> the pleasure is all mine. so let's just talk about -- i mean, we'll get back to your life, but you came to paramount, wh, eit years ago? >> eight years ago, yes. >> rose: so what did you find and how is it different now? what have you done with this? >> well, when i got there the studio was as you just mentioned 100-year-old studio so they had their ups and they had their downs, they had their great periods and periods that weren't quite as strong and when i got
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thereto they were at a place where they didn't have much development, there really wasn't much product and so we had to pretty muctart from scratch. we had to look at the business and really understand what was coming. really look at where the business would be. was it to be an international business? was it to to be a business clearly that had a move toward the next distribution? in terms of digital? where are we and now do we tell great stories? how do we tell entertaining stories? how do we try to make this a great chapter so that when i look back at this period of my life or this period of paramount i can at least look back and say oh, yeah, they did some great work at that time. >> rose: it really is story telling and not about tools you have. it's story telling. >> well, the tools are just a mechanism to get consumers your product.
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ultimately all it comes down to is hits and entertaining people and hits come in every way. hits can be what we've done with transformers around the world. big summer popcorn global event or as small as what's comeing with alexander payne, a little black-and-white movie called "nebraska." all the rest of the noise, how are we going to see your product, what's the next window? all of that can be sorted out. >> rose: this something you dreamed of doing? >> no, i never dreamed of this. i -- i dreamed of being in show business i would watch the
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"tonight show" and i would say those people seem like they're having fun. that sounds like a great life. >> rose: a great life, sit at a table and interview people. that's what i said. >> you worked for harvey, didn't you? >> harvey hired me in buffalo, new york when i was in college but harvey was nice enough to give me job and teach me i started as a runner for harvey. he was a concert promoter. is he became a pretty serious concert promoter. he gave me a chance and he and i became partners. he started miramax and i decided i wanted to be in the management and production business and off we both went. >> rose: so what have you learned? you went t see -- same thing, you went to siebernny brill?
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>> bernie brill and seen the. >> rose: bernie brill steen. you walk into the polo lounge and he has a tape-- i'm setting the scene. how did you get the appointment. >> i just called him. and bernie was the most accessible and lovable and interesting show business figure. >> rose: so why did he take the call? >> well, he -- that's what was so wonderful about beie. he would takanyo's cl. he really would. he was fantastic and i think of him everyday. i miss him so much. but i called him and i said "i'm going to be -- i am in the management business, i represent these few comedians. >> rose: who did you represent at that time? >> bob saget. >> rose: well, that's good. >> yes. and bob saget, dave call yay, gary shandling. it was a handful of comedians.
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and i said if you gave me a chance i think i could help you build your company. and i assumed he would say that's very sweet of you kid, get out. >> rose: (laughs) i've heard that story before. >> but he didn't. he said "i think that's a great idea and he hired me immediately. >> rose: at the lunch? >> at the breakfast. >> rose: hired you. >> hired me. and he said "how much do you make?" i told him. he said "i'm going to pay you more." it's extraordinary. but, you know, i think i've lived the charm show business life. >> rose: so when did it become brill stein grey? >> it was a very interesting time because six months after he hired me merv addle son, the great merv addle adeleson asked me to run or will mar pictures at which point bernie said "kid you run this and i'm going to run lhor mar pictures." so that's what happened. >> rose: did you say we have to call it brynstein gray?
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>> we started to produce television. i made deals with different television companies. we got into production and it evolved into a partnership. >> rose: and what was your skill >> don't know to be honest. i had good instincts for talent. loved the artists, loved the talent and i think just understood that i wanted to find a way to forward the ideas of the real creative people. and surround myself with the best in creativity. and working with bernie was the first real venue to do that. >> rose: and when did you create so so? >> well, david shea creed "sopnos." >> rose: i know that. >> some years down the road bernie and i had built a television company, sold a television company, built another one. we had some wonderful success together. we put david chase under contract who had been toiling in the television --
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>> rose: struggling. >> struggling. and he had been writing television for about 30 years at that point and i read an "i'll fly away" script that someone in my office gave me and we put david under an overall deal. david now-- who iad luh with stery, we were laughing about this" took the money because he wanted to write a screenplay because he wanted to only be in the movie business. so he took the television money to go off and write a screenplay never imagining that he would ever deliver a television show. in the end he had this script in his drawer about a mobster and his mom in new jersey and that evolved into this premise. >> rose: okay, you say, he says, others say "changed my life." >> changed my life. angemy life in th mt joyful decade i've ever had in -- >> rose: but why? because of the money you made or because of fame you got or
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because of what? >> because it was -- to my mind if not the best one of the best television series in the history of television and the people involved in it were working at the highest level from david all the way down and we were doing something that felt wonderful to us. it felt exactly right and i give all the credit to david and then you know, casting james gandolfini. the magic of finding jim gandolfini to play tony soprano. in what world would you sks jimmy gandolfini to play the lead in a television series? well, it worked that way and he was so good in the audition that you were so excited by it and it all sort of happened that way. but the writing was theold standard.
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i would say to david this is arthur milleresque and that would embarrass him terribly and i know how big a statement that is but that was how good i felt it was. >> rose: we'll talk more about how television is changing and then what happens? >> what happened was >> i had been doing this abo years and tom freston who worked at viacom and summer in asked me if i would do this and they were thinking about it, some other friends had recommended me. >> rose: that's where it gets interesting. you had come to the conclusion that the studios unlike the past when they were run by these giants now are run by accountants. and you don't necessarily think you want to do that or what? >> no, i thought it was
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incredibly romantic at that time of my life to work at paramount pictures. theerite of paramount, the legacy of paramount, pictures that they made having done -- having built a management production company and having produced what i thought were some of the greatest television shows. i was just on to producing movies myself. so what had happened was i had just produced "charlie and the chocolate factory" with the late great dick zahn nick in london and we were just in the midst of shooting "the departed" with marty score say zi, as you know. and it was wonderful but what happened to me was i realized that in in the movie business and in show business but if you really look at the movie industry, the power resides with the chairman of the studio. a man that can green light the movie. the first director with all the
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power. and a couple of stars that had that kind of cloud. >> rose: so you wanted to be one of those. >> i wanted to be one of those people because i wanted the chce to be a principal. i wanted the chance to be a principal and build things that i thought was a great substance and i thought paramount pictures with all of the folks that worked there and all of the history of the company i thought that that was something that was just kind of an opportunity of a lifetime. and i cherished the opportunity. i'm honored by the opportunity and i love the opportunity and eight years later, now that i allyave me sense of the rhythm of running a motion picture studio and now that there's a team there that's, frankly, better than i am, the folks that i work with, which is all always the key, surround yourself with people -- that are
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far brighter than you are. wasn't that hard for me. but i was able to do that and it's fantastic, it's a great job and i'm privileged to have it. >> rose: did you think, oh, god, here's the chance of me to be the legend of hollywood with lou wasserman. i cado what lou did, be a talent agent to running a studio. universal, he ran. >> well, lou wasserman is somebody that i had extraordinary admiration. >> rose: elegance and style. >> extraordinary. every area. but my lou story is i went to see lou wasserman toward the end of my clear from the management and production business and lou because he had some point to had to divest himself of one-- the government made himivt hielf of one-- i asked him his advice for the future and i'll never forget it it was sitting with lou wasserman and the table
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is bare as we've all read about and he's sitting there and it's mr. wasserman and i say "here's what i've done." and he knew everything i did which i was so complimented by and i said "what do you think?" and he said "well, you're going to have to choose. do you want to be in production or do you want to be in the representation business? because you have to pick one or the other." >> rose: it was a no-brainer for you? >> well, i had done the representation -- i had been in the representation business and loved the representation business but it was time for me to try something new. i really believe it's the same job, actually. for me it's only my relationship with talent. it's only my access to talent. it's only my comfort or their comfort that leads to great things. so -- >> rose: like steve ross. >> but it is. in one sense it's really the same job. it's working with the greatest in talent. this time i get the privilegef
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paying them. >> rose: (laughs) you sign the check. >> for the shareholders and for sumner but that's really what it is. it's talent. >> rose: so then what happened. is you had within paramount, you're there, you're the c.e.o., the great steven spielberg. the great -- >> martin scorsese. >> martin scorsese. you had there -- >> so many people. >> rose: and the thing with dreamworks didn't work out. you and vid 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
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bought dreamworks we made what we thought was a great al. we h, 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 deal made complete sense to us. i have only great things to say -- >> rose: i know, and i'm not trying to get you to criticize him. but i want you to tell me why you can't make it work. what's the problem here? >> i can't tell you other than the fact that in life -- >> rose: you really don't know? >> i can't tell you exactly what it was. i can only say that in life with
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-- you have the greatest expectations and you try to do things the right way it doesn't always work out. but i'm pleased to say that paramount is in fantastic shape and i know -- i'm very sure that dreamworks probably feels the same in their areas and i only wish them well. and steven is now producing transformers with us and ied that privilege of making quite a few few movies with steven and i'm trying to make many more. >> when you see the movie business today, what are the opportunities and what are the challenges? >> well, the opportunities think are extraordinary. i think that we are in some sense of the next industrial revolution as we all talk about what's happening in terms of digital distribution and how the
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internet and how satellite and -- everything has changed our lives where everything is so immediate. everything we'd always been taing aut. and you and i have talked about in the past that in three years the band will be so wide you'll be able to see anything in your use. in five yes you'll be able to have a device and you'll be able to watch whatever you want on your telephone. >> rose: you can almost do that now. >> well, it is here. it is here. >> rose: you can even get netflix on your cell phone. >> an extraordinary thing. so we go home and we decide we want to watch a movie. well the same thing is happening for the folks around the world. you're getting too watch movies instantly, effortlessly and i think it probably adds to the enjoyment as long as we do good story telling. >> rose: creativity is at a high level. here what interesti to me. this take what you did with "sopranos" a series on hbo.
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take homeland. take some of the most creative drama today is on television. >> i think it's extraordinary what's happening on television. the venue, the thousand channel universe we always talk about is here. there are so many buyers now. unfortunely there probably isn't as much talent as there is distribution. >> rose: in other words, you have more distribution channels and have people to fill the channels. >> for great quality. when you cite "homeland" or "the sopranos" i could suggest "breaking bad." >> rose: especially "breaking bad." >> so the opportunity is so great now because there's so many places for -- >> rose: here's what i love about it. it means puck look at your story and decide how to tell it best. is it a moti picture or
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something else? is it a three parter? no longer do you have to say i've got to fit this story telling into this mold. it's either episodic television or -- >> i think that's right and that's why you're seeing so many great filmmakers and screen writers in the television business. there's so much great television outside of that scripted hour. even if you turn on really depends what you want. we've always talked about, well, what happens with reality television? reality television is the best ofhat i watch you do erhingorningon cbs or it is swamp people. >> rose: (laughs) yes! they're often compared. >> it is -- i've thought about that. but it is the best of reality and there's interesting great reality television in additioning to this scripted fare. >> rose: in selecting the small movies are you just -- are you looking -- are you hired
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directors or do you buy scripts. >> we do both. for paramount i y toour st as do all the folks that i work with to make sure that we have the greatest film maker. so the next time you come to los angeles, i hope you will see on the lot francis coppola sitting in the lubitsch building thinking about what he's doing and i love the idea that francis is there because he built the place with "the godfather" and then you will see j. j. abrahms posting starr truck as we're quickly getting it out and and you'll see brad pitt editing "world war z" with his people. >> rose: so they're all on the lot working. >> the idea is that they're all with us and we're trying to make sure that we're nurturing their ideas. we also buy scripts and we buy books and we do the best we can in terms of developing on our own. but i think it's just about taking a look at the best in talent, trying to find fertile
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that they're interested in and working together would-to-make it everything it can be. >> do you have somebody you desperately want to work for you? either an actor or director. >> i've been very fortunate. i'd be in -- there's nobody that i can think of that i can say i'm desperate to work with. i'm desperate to work with all of them. the next picture we're working son the first time -- which is very, very exciting-- is we're making chris nolan's next movie. he made "batman" and he's made some of our greatest big sci-fi pictures but he's making a picture for us called "interstellar." and that will be out for 2014. >> rose: that's a big movie? >> very big. >> rose: (laug) >> and interesting and he's an artist. >> rose: what's the biggest throat the movie business as you know it? >> i think that there's the constant of piracy. piracy is an issue and the good
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news now is i think we're on a path where we're working and collaborating silicon valley and certainly the biggest search engines in the world and trying to sort out how we handle this together to make sure that our artists and studios and all e opleallthe thoands and thousands and thousands of people are able to be legitimately paid and the product is not stolen. it's a very big issue. the other big issue is always the same and we've touched on this. it's simply are we doing everything we can do to tell the story in the most compelling way? are we -- are we really making the decisions and right decisions to try to entertain people around the rld? an that's -- that can keep you up because you can second guess any of these decisions
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>> and it's obvious. things that seem obvious turn out not to be so. if you think this is great, nibble this and for some reason the public doesn't buy it. >> well, we're mostly wrong. every once in a while we're right. >> rose: like baseball. >> we're mostly wrong and we keep going. when you make one of these pictures any one dpartnt as u just said, any one miss can throw off the alchemy. >> rose: when you green light a movie, you have to right story, the right script, the right director, you're satisfied and they go make a movie that you seem to like and the public doesn't. can you figure out why or is it still just inexplicable. i think most of the time it's explicable. you miss. >> rose: i know that. but that's a metric. you've got to understand.
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is there a lesson to be learned why -- >> i think there's always lessons to be learned so what we do is the cost structure in terms of really running paramount as a business matters to me. matters to all of us. so we look at what it costs but what happens to your point is after with make a movie, we see what the environment is, what's happening in the business and we'll do what we call a post-green light meeting and we'll sit there and talk about the movie as it's come out as it's bee proced a lookt what we're spending and what markets and how to best handle that movie based on the results that we've gotten. but the magic of whether the picture works, whether we've hoped it can be, inexplicable. >> rose: but you know on friday night? >> unfortunately you know by friday afternoon you have a stomach ache until sunday and then you sort out a reason why it's okay, we'll figure it out.
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we'll work it out next time and find another way to keep going. because they're big bets. >> rose: thank y, brad grey. >> it's a pleasure being here. >> rose: thank you for joining with us. we'll see you next time. captioning sponsored by rose communications captioned by media access group at wgbh access.wgbh.org
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