Including scarface and the untouchables. Here is the trailer for de palma. Youve got to realize youre being criticized against the fashion of the day, and when the fashion changes, everybody forgets about that. Being a director is being a watcher. You have a lot of egos in the room and you have to sort of watch how they interact with each other. There was marty and i, then george and francis and stephen. What we did in our generation will never be duplicated. Youre battling a very difficult system, and all the values of that system are the opposite of what goes into making original good movies. The problem of working in the hollywood system is you can lose your way. My movies tend to upset people a lot, so you can imagine what things theyre trying to take out of my movies. I did grow up in an operating room. I saw a lot of blood. I had been battling with the ratings board, and i kept on getting xs, and i said, absolutely im not changing it anymore. And what i did that really drove them all crazy is that i put everything back in. laughter when you do some of these things, they make perfect logical sense to you. Then you put them in front of an audience and they go, holy cow rose joining me is Brian De Palma and the directors of the documentary and longtime de palma fans, Noah Baumbach and jake paltrow. Im pleased to have them all at this table. You see all that. Youre at this documentary front and center, but your films are front and center, too, and we saw a sampling of that. You said being a director is like being a watcher. What did you mean . Well, you watch behind the camera, you watch what your actors are doing. One to have the essential shots in a movie is the point of view shot, which is were seeing what the actors are seeing and the audience is seeing, exactly the same information. Thats unique to cinema and its a Building Block i use quite a lot. Rose how did you learn this . I guess hitchcock. He used a lot of the point of view shots. You know, the simple one is, like, walking up to the bates mansion and you see her close up, she goes up the step. You see the mansion getting closer. She goes up a few more steps on her and then on to the mansion. So were seeing what shes thinking and saying, oh, my god, i dont want to go into that house laughter rose what do de palma films share . If youre watching television, flipping channels and come across a brian movie and dont know its him, if you know his movies, you could guess its him, just from the way the camera moves. You can talk about all the techniques specifically, point of view shot, all those things, but there is something that, you know, brians personality is so strong, you know, and his visual sense is so personal that, you know, its undeniable when you see it. I mean, he loves long following shots, he does long tracking shots. He does lots of things in one. He does split screen, there are all these techniques, but beyond all that, brians personality is in the way the movies look and feel. Rose how did this come about . It really comes out of our times with brian. We would have these long, long dinners. There are weeks we would have three dinners a week with brian. One night noah and i would walk home and realized if he would speak on camera the way he speaks to us at dinner, it would be quite a compelling thing. Rose when you approached him, did he say, what a great idea, i cant wait . We were worried about it. Brian doesnt mince words. If he was going to shut it down, he would do it fast, we wouldnt be able to revisit it. He was on board and a week later we shot it, and we did it for a week. Rose one week . One full week. Rose what is it about him that made you guys want to do this . Brian is an Elemental Force in filmmaking and for me and noah, too, he is one of the few lenses we see movies through, the medium. He is the first strong directors vision i was aware of. In a lot of ways i associate movies through the way brian sees them, and thats something you cant shake. Its like a sense memory or something. So to have access to that person and actually be friends with them rose how long has the friendship been . Over ten years and youve known him 20. Rose you mentioned hitchcock. It was vertigo that made it for you. 1958. Its the directors wet dream, basically. laughter rose oh, pray tell more. Youre creating an image, a woman you make the audience fall in love with through Jimmy Stewart following her around and then you kill her and then you recreate her. In our movies, we create these characters that we want you, the audience to watch. Many times, they are beautiful women. Rose what does he do and what is it that you most admire about what he does . I mean, what are the ingredients of that . You know, i was very interested in b movies and horror movies and special effects as a kid and brian, in a way, brought me into real movies through the way he makes them. The elements of genre. Hes bringing this very personal point of view into these genre pictures and thats unusual. There isnt a lot of people that have done that before and there arent a lot that are doing it now. So to make personal films inside genre is elemental. What he does is purely of cinema, theres no i mean, brian the hit i get off brians movies is something i get i mean, i love movies, and i feel like, to love movies you look at a brian movie and how can you not love this. Rose its so symphonic. Yeah, and you feel his enthusiasm and investment in doing something purely cinematic. He talks in the movie about his visual approach is you know, he has a visual idea and he constructs entire movies sometimes out of this one idea. Rose im interested, too, in what makes a great movie. Theyre like the untouchables or scarface or others. You take a movie like carrie, its a great writer, his first novel, then you have all these great actors nobodys ever seen before except for piper laurie. Because george lo cues and i were casting all the young actors in hollywood at the same time, we saw everybody, and because in my case i couldnt get my movie financed, i was waiting around for months, i had a tremendous amount of time to lay out the whole sequence of the movie, and we had a lot of time to work with these actors nobody had ever seen before. Rose take a look at this, a scene from carrie. shouting to open the door sinister music screaming rose did you once say, i dont watch scary films . Right. Rose what was i this . I would rather be the puppet master than the puppet. You know, i like to construct sequences. Rose you dont like scary films . You know when things are come bug you dont like to be scared out of your seat. I dont like rollercoasters. Do you . Rose yes i love them not me. I dont like being caught offguard. But can i set somebody up . Rose my instinct about you would be that, you know, you would exactly want to be caught offguard, you would exactly want to create something that you dont quite understand. No, i want to lay it out and get the rabbit in the hat and pull it out at the right moment, you know. I dont like movies where i dont know where the scares are coming. You know, the big key to most scary moments is you just have to do this because they usually boo you with the sound track. So if you go like this, you wont be scared because its always suddenly somebodys banging. You know, theyre getting very question et, and very quiet and theres a bump and you jump no matter whats going on screen. So if you go like this, you wont be scared. Rose what are the scariest scenes youve made . The prom queen, where you set it up and everybody is here and the madness begins. In the untouchables, weve established where everybody is before the shootout begins. Rose whats your favorite film . Well, it changes. It changed, i think rose doing this . Doing this, too. I mean, you know, i love carrie, i love blowout. Rose scarface. Yeah, scarface. Car litos way, which brian in the movie talks about and talks about how it sort of underperformed at the box office and then when he watched it at the Berlin Film Festival and its kind of an emotional moment in the movie, he looked at it and he thinks, you know, i cant make a better movie than this. And that is my experience looking at that movie. I think its like a filmmaker harnessing everything in his power and doing it, you know, really at its best. Its a kind of remarkable movie. Rose what you want to accomplish here jake is to see the world that brian sees through his eyes . Thats one aspect of it, but i think the bigger thing is sort of sharing our friendship. You know, its a very unique view into somebody like brian. Brian doesnt talk a lot, you know, with the press, and hasnt told a lot about the way he works. Rose so thats why you havent been here often. Absolutely. He offers, i refuse. laughter in a lot of ways, the film started almost with us, a way of archiving the special relationship and the things he told us, and i think, once you start filming brian, he knows what his job, is and like a great actor, he knows how to make it funny, make it fast, keep the pace up. Then you realize this is the stuff movies are made of. Rose whats it like directing the director . The directing is sort of the editing in a way. The shooting of it is just like the conversations we would have with him at dinner or coffee, and then your intuitive senses take over when youre selecting the footage and it becomes this thing when were sitting there together and talking about things we like and we try to cast a spell like you would in a regular movie. So you want it to be a certain length, have a certain pace, and it has to keep going without ever breaking the spell, as best you can. So all the same sorts of rules seem to apply. Rose whats interesting going back to what you already said, it is in a sense, this is like you were documenting something for your own pleasure and decided it has a wider purpose. Yeah. Well, i think the feeling was from our just our casual conversations at dinner and, you know, directors get together, they talk about movies, and we sort of talked in a certain way that was specifically because we were all its shared experience, having all made movies, it was sort of specific in that way, and we felt that, well, this is also happens to be Brian De Palma, whose movies weve grown up with and love, so lets see if that translates in front of a camera. Rose the conceit of this film or the joy of this film, whichever you choose, is its just you. Its not your cinematographer, it is not your screen writer. And all my friends telling me how great i am. Rose yeah. You did the first film with dinero. Out of graduate school. Rose the weeding party. Did you see greatness . I have a long history with bob. Hes very shy. But he has a kind of rapport with me because id known him when he was a kid, basically. So were very matter of fact with each other. The interesting thing i discovered o the untouchables, as i was shooting the film and looking at it through the monitor or the camera, i mean, i thought he wasnt doing enough, and i kept on thinking, bob, dont you have to do a little more here . Youre so laid back, its so underplayed. He said, believe me, just trust me. And what i discovered is that he was doing things so subtly, they would only be revealed on a big screen. That was a lesson i learned. No, just the fact that you needed a screen to see what he was doing. You cant see it from here to here. But when you put it on a 50foot screen ah now i see what hes doing. And its very subtle. You know, very subtle. Rose can you give me an example of that that comes to mind . Im just trying to think which scene it was. It was probably that crane shot where im coming down close to him and hes in the barbers chair and getting shaved, you know, and the crane is really high up and you see the whole top of the set and you come all the way down into this big closeup. And, of course, the shots are far away from him and then gets very close. And god knows how many takes i did, it was all one shot. I kept on saying, well, cant you do a little more . But the fact was, on the big screen, you could see all the things he was doing that you couldnt see on through the camera or through the monitor. Rose lets talk about things you like. You like split screens. In some places, but the one you just showed here is not a very effective split screen. Split screen is not good for action. Rose whats it good for . Parallel action . Good point. Rose thank you, sir. Intercutting or parallel action. It worked great in sisters because jennifer is talking to the cops and trying to get back to where the murderer is committed. Meanwhile, bill finley and margo are cleaning up the room, getting the blood away and putting the dead person into the couch. So theyre both going on simultaneously, and it starts with lyle writing, you know, on the window as seen from jennifers point of view, and then it follows jennifer all the way around till she comes all the way into the apartment, then follows the guy dying and bill finley coming in and basically putting the body in the couch. Rose dream sequences. I like dream sequences because i do a lot of dreaming and try to make sense of them. Rose really . Yeah. Rose do you hire people to interpret your dreams . No, but i get a lot of ideas from my dreams. Rose do you really . Yeah. I dont know if this works with any of you guys, but if youre dealing with a problem and you go to sleep, somehow you work it out in your dream and you wake up and go, ahha thats it rose does that happen to you . Yeah, versions of it. I dont put it in my movies. Yeah, plus its very stylized and you can do really crazy things. Rose what is your favorite story he tells from the movie . Thats a good one. laughter i dont know, there are many good ones, and i think there are a lot of things he says about directing that kind of crystallized things that all filmmakers go through and brian tells it in a personal and specific way, and it does kind of go right to the heart of the job. One of them theres a story about getting carrie financed and, you know, this is also coming after hed been fired from get to know your rabbit because he stuck to his principles and i know im telling this in front of you but he basically goes back you know, he has an opportunity to sort of walk away again, and he decides to compromise. To lie. Well, to lie. laughter in the way you tell the story, we think youre compromising, and what we really find out is hes finding a way around it, and its very much about i think that story, while its hilarious the way he tells us in the movie, but its very much about what directors have to go through to do these things. Rose so if youre talking to a bunch of directors, and you say to them, look, there are a lot of things im going to tell you about how i see the making of movies, but if there is one thing that i want you to know about making movies, it is this what would that be . Rely on your instincts. Dont be talked out of things. Because one of the important things you have to know is there are people who are paid a lot of money to convince you to do things you dont want to do. Studios are filled with them. Because you are spending a lot of money, and they dont know whats going on in your head. Rose do you think in the end, you know what makes him tick . No. Rose i dont think, so either. laughter the one thing thats misunderstood about brian is he talks about the hitchcock technique being a language, you know, and i think, you know, detractors would say its derivative or Something Like that, and i think hes speaking in a cinematic language and carrying that on. Some people have worked in a hitchcockstyle way but nobody has worked in the consistently visual storytelling approach first. Rose the film de palma is in theaters june 10. Brian de palma, Noah Baumbach and jake paltrow. Back in a moment. Stay with us. Rose eric ripert is here, chef and coowner of the new york restaurant le bernardin, it holds three stars from the Michelin Guide and maintained a fourtar rating from the New York Times for more than two decades. His new book is called 32 yokes from my mothers table to working the line. It tells the story of his early life in the south of france and the discovery of his talent and passion for food. Heres what some of erics friends and fellow chefs had to say about him on cbs this morning. Unlike most chefs, everybody seems to agree hes a great chef. He understands that the quality of the product is everything. Hes not afraid to let it be naked. Stars year after year after year. Its consistency over 30 years. Four New York Times stars. Excellence over 30 years. What he does with food on the plate and with the entire ideology of one of the greatest restaurants in the world is respect of simplicity. He gave me a view of what excellence and commitment can look like. Unlike every chef i know and me for sure, ive never seen him wish ill on another human being. Hes a regular, normal guy operating at peak capacity. Do you see how handsome h he is . I like eric because im attracted to tall, silverhaired men. So handsome hes like oliver twist if he were french and middle class with perfect hair. Rose eric ripert is a friend of mine. Pleased to have him at this table and i always look forward to being at his table. Welcome. Thank you so much. Pleasure to be here. Rose tell me about the title, 32 yokes from my mothers table to working the line. 32 yokes. 32 yokes. Its a challenge for me. I just graduated and i think i am a good cook because i graduated with honors from Culinary School and the chef is frustrated with me because i already cut my finger or i dont find the ingredients and he asked me to make a hollandaise sauce with 32 yokes, which is one pound and a quarter en masse. Im built like a string bean. Im trying to whip the 32 yokes to the consistency of a cloud. Instead of making the beautiful eggs, i make pitiful scrambled eggs and it would take me weeks to master the 32 yokes. There is a line between believing i am a cook and being a real cook. Rose why did it take you so long to master that . You have to learn how to play with the fire. The temperature of the yokes has to be warm, not too much, you have to put a tiny bit of water to emulsify. You have to whisk for 30 minutes. Its no joke. When the arm is tired, you have to go to the left arm and do it again. You have to have form to touch all the sides of the pan. It takes a long time. A couple of weeks later i was starting to be good at it. Rose this is a book at your beginnings in france to washington, d. C. Where you worked with jean paladine. Yes, at the watergate. Rose what year . 1989. Rose and here you are writing about your youth. It is forming and shaping and we learn things we didnt know about you. Yes, from age 4, and book stops at the greatgate when im taking the plane to come to america, but in betweeneth all my life its all my life as a young kid. My parents in the 1970s, it was challenging. They divorced. My father died when i was ten. I had a very abusive stepfather. I had to deal with that. Rose thats the hardest part, i assume, to talk about. I am very candid to ta