She loves it hot. He loves it cold.
However you sleep, the pod by 8 sleep adapts to you. Get up to $350 off with code DEEPSLEEP. at apesleep.com. Good morning. Jane Pauley is off this weekend.
I'm Mo Raka, and this is Sunday morning. Hollywood's biggest night is just a few hours away, the 98th Academy Awards. As always, the show will celebrate the year in movies. but it comes at a particularly fraught time for Hollywood. From corporate consolidation to the arrival of AI to productions leaving Los Angeles and more, there's plenty of concern amidst the pageantry.
This morning, Ben Mankiewicz takes us back to a simpler time. When the very idea of movie making in Los Angeles was little more than a dream. Who re for homely war? Hollywood's best origin story might be its own. This is the site of the first full-length feature film, The Squaw Man was.
And really the first Hollywood studio. Yep. From this barn, grew the big business of movie making. We're always going to want to be entertained and we're always going to want a fireside story. a century of stories, and an uncertain future.
Hollywood and History. Ahead on Sunday morning. Irish actor Killian Murphy knows what it's like to be honoured on Oscar night. He won the Academy Award for Oppenheimer two years ago. The star of the new Peaky Blinders movie looks back on that moment with Seth Doan.
And the Oscar goes too. Killing Murphy. It was magical and so kind of overwhelming and beautiful. But then you go back to the work. Winning the Oscar for Best Actor could have allowed the sort of swagger he developed to play Tommy Shelby.
Does it take some pressure off? to win an Academy Award, like, okay, well at least I've done that. Or does it add pressure? The thoughtful and a little bit shy Killian Murphy later on Sunday morning. The natural Grammy-winning musician John Mayer and film director McGee may seem like an unlikely duo.
But as Tracy Smith will tell us, they're partners in a venture to preserve one of the earliest chapters of Hollywood history. Charlie Chaplin's famous character The Tramp was a survivor, and thanks to John Mayer and Mick G, so too is the studio Chaplin built. Were there people who said to you, oh, this is a bad investment? Everybody in each of our lives. We did it.
for the artists. Look at this place, like most of the magic's intact. Buying a Storied Studio coming up on Sunday morning. We're all about the movies this morning. Elizabeth Palmer shares the story behind an Oscar-nominated documentary about a teacher who stood up to the Russian war propaganda machine.
David Pogue pays tribute to the late great filmmaker Frederick Wiseman. Anthony Mason is in conversation with Oscar winner Sophia Coppola and fashion designer Mark Jacobs, discussing her new documentary about him. Plus thoughts about Iran from Ted Koppel. A story from Steve Hartman and more. On a most cinematic Oscar edition of Sunday Morning for March 15, 2026.
We'll be back in a moment. Yeah. Before Hollywood history is made at tonight's Academy Awards, Ben Mankowitz takes us back. to where it all began. Our love affair with the movies, with the idea of Hollywood.
Come on with a rain has been hot and heavy for more than a century. Bye, look. You haven't even touched your food. We laugh. There.
Yeah. We cry. You had me at hello.
Sometimes we fight. I want the truth! You can't handle the truth! But we make up in the end. You think our relationship started here.
But the truth is it began five or so miles down the hill. Here. in a barn.
So this was a bar? It was a bar. This is the oldest structure still standing in Hollywood. It was built in 1901. Twelve years later, it became the birthplace of Hollywood's first feature film, directed by Cecilby DeMille.
The barn then became the site of the first major motion picture studio. Yeah. It is now home to the Hollywood Heritage Museum. Probably one of the most greatest spots is Cecil B. DeMille's office.
So as soon as he gets here, he sets up a production office here. Exactly, yep. Angie Schneider is its director. A lot of our filmmakers are beginning on the East Coast. You have some up-and-coming pioneers.
You have Jesse L. Lasky with Cecil B. DeMille, as well as Lasky's brother-in-law, Samuel Goldfish, who would later become Samuel Goldwyn. And they get the rights to the top play at the time, which was called the Squaw Man.
So Cecil B. DeMille takes his small crew west to Flagstaff, Arizona. But it didn't look right. or feel right. certainly not in the dead of winter.
Ground was rock hard. Exactly.
So they went to Los Angeles. You can have an ocean one day, mountains the next. DeMille then sends his partners a telegram to remember. Want authority to rent a barn in a place called Hollywood. For $75 a month, regards to Sam.
Right. You have the lease. We have the original lease agreements, yes, we do. $75 a month, DeMille wrote. The lease is $250 a month.
A month.
So this is not only the first feature film shot In Hollywood. It also appears to be the first lie told by a Hollywood director to a producer. Surprise, right? That studio eventually became Paramount, CBS's parent company, one of the five big movie studios of classic Hollywood. My paternal grandfather was a guy named Samuel Goldwyn.
Actor, producer, and director Tony Goldwyn. He's the Goldwyn. He's the Goldwyn of MGM. Yeah. Uh Yeah.
He's also the Sam who DeMille sent his regards to in that famous telegram. These poor Eastern European Jews who came here with a vision of what America was, these guys were.
So patriotic, and we're trying to impart to America and to the world. a vision of what it meant, of what this country was all about. It started with the silence. Giving way to sound. Good, good, good, tea.
Goodbye. Yeah. Then the Golden Age. Yeah. I've a feeling we're not in Kansas anymore.
You talking to me? the bold innovation of the new Hollywood. The blockbusters. I'll be back. Yeah.
And then all those superheroes. What are you? I'm Batman. Hollywood, it's an industry and it's a metaphor. And if it is a metaphor, what is it a metaphor for?
Yeah, I mean Hollywood obviously is a place in Southern California where it all started and has been the foundation physically of the movie industry. there is a more lasting version of Hollywood, which is a metaphor for the visual expression of our dreams. in motion. For holy world That's good. The immigrants who founded Hollywood are obviously legendary today, but they were brilliant entrepreneurs, built an industry out of whole cloth.
Charlie Rivkin is the Chairman and CEO of the Motion Picture Association. It's the freedom, I think, that's particularly unique. We are free to tell stories that other countries would hesitate doing. For example, We told the story about the Vietnam War when the wounds were raw. I think now.
Looking back. We did not fight the enemy. We fought ourselves. He told the story of America's role. In the financial crisis.
Do you have any idea what you just did? Come on, we just made the deal of our lifetimes. We should celebrate. You just bet against the American economy. The fact that we're free to make those stories, and that freedom is what gives us our ability to project Hollywood around the world.
Patty Jenkins knows something about having a movie projected around the world. She directed Wonder Woman with a box office of more than $800 million. One of the most extravagant sets. Yeah, imagine that was sitting here. We spoke on a legendary soundstage where Alfred Hitchcock shot rear window in 1954.
Could rear window be made now? It could be made. mainly because of Hitchcock. because there was a famous director who already had a track record. Would it be seen?
Very little. It would probably end up straight to streaming. It would be a very different world. And that was the great thing about Old Hollywood in a way, was that they were taking a lot of radical gambles and those movies were going to the theater and that's what you were seeing.
So I think there was a sort of beautiful heyday then of like some real art house directors and people doing incredible things got their movies on the big screen and were very seriously watched. Ever since that first feature film, Hollywood has beaten back a host of challengers. TV in the early 1950s, VHS tapes, and DVDs in the 80s and 90s. But this latest obstacle, streaming in AI, feels like the biggest threat yet. Charlie Rivkin disagrees.
In the early days, when there were silent movies going to sound, it terrified everybody. Then became color, and people thought, color, it'll hurt the entire industry. But it didn't hurt the industry, it helped it enormously. And every single time, Hollywood not only embraced change, but thrived. What does Hollywood mean?
The thing that I dislike the most about Hollywood at this moment is the cocky smugness that it's the story is ended and we know what movies people watch. And so like, we've lost, had lost for the last many years. Oh, this kind of picture works. I mean, when I first got here to Hollywood, somebody actually said to me, well, drama's dead. And I was like.
Wow, thousands of years, but now instead of it, really? Wow. Storytelling has never changed. You know, it's been, it's an intrinsic need of mankind to tell each other these stories. And as long as we need stories, says Tony Goldwyn.
Storytellers in Hollywood will be up to the task. I think you're going to be seeing a lot of great art. Come out of the years that we're living through right now. We could qualify you as anxious, but not discouraged. Yeah, and anxiety breeds action.
In my experience, you know what I mean? I feel very agitated by what's happening in our world, but I feel as a result compelled to get in there and react to it and tell stories about it. Among the nominees at tonight's Oscars, a film called Mr. Nobody Against Putin. Elizabeth Palmer tells us all about it.
Right after the 2022 invasion, Karabash Elementary-like schools across Russia was ordered to indoctrinate these young minds with a so-called patriotic curriculum. Pasha Talankin, the school's videographer, was assigned to shoot it all to prove to Russia's government that the school was towing a line. But Tolankin, much as he loved his students, hated the war and felt trapped. Yea, rebels were about to know. I don't know if you're not.
Talankin also hated the way his colleagues were forced to parrot the state's propaganda.
So he decided he would record everything. Not just for the government, but to show the world. Talankin and the documentary's American director David Borenstein spoke to us in our London office. When the teacher had to say Ukraine had taken the path of neo-Nazism and neo-fascism, and we must liberate it, at that moment I understood that I had no moral right to delete this material because it is part of the evidence of what's happening in Russian schools today. I don't think Pasha even knew, none of us knew, that this film would ever come to anything when we were making it.
The two met online and agreed to make the film.
So for two years, Talankin kept shooting while Borenstein directed remotely from Europe. He recorded everything, pro-war student assemblies. Putin's paramilitary Wagner group showing up to give weapons training. And the day some of his students were drafted to fight in Ukraine. When Pasha picked up the camera, it was because he felt he was trapped in this Kafka-esque system.
He says it in the phone. He says, being a propagandist at this school is like walking a tightrope. The stakes were huge. Talankin could have faced life in prison if caught. Especially as he kept drawing attention to himself with small acts of rebellion.
like playing the Star-Spangled Banner instead of Russia's anthem. on the school's PA system. Did you ever think That you'd been, the Brits would say, rumbled, that they were onto you.
Sometimes I thought so. In Russia, you never know. No one will call you. No one will knock on your door. They just watch.
And then suddenly break the door down, throw you on the floor. And your floor is the last thing you see in your apartment. That's it. You don't exist anymore. In the West, Mr.
Nobody against Putin is a triumph. Most recently, it won Best Documentary at the BAFTAs, the British Oscars. But in Russia The Kremlin claims it's been just too busy to watch. Talankin's mother, however, a crusty librarian who appears in the film. has managed to see it.
I asked him if she liked it. Yes, well we don't talk about it directly, but she did give an interview to The New York Times said she liked the film and that she's proud. Eventually, though, the whole charade became too risky. Talankin booked a fake holiday to Turkey and escaped.
Now in exile, he is a very public critic of a sometimes vengeful Russian state. How safe do you feel? Probably 80%, say. Talankin mourns for the kids he cares about so deeply. and whose future, he fears, has been poisoned by Putin's nationalist lies.
I mean you've achieved something amazing. This is a very important document because it shows what Russian society will be like in a few years. Putin may no longer exist, but society will be evil because propaganda entered schools and was taught to children. Sport Jibson. This film focuses on the children.
But it reveals a lot about the cameraman, too. It's also, to me, a story about resistance. Everybody faces a moral choice wherever you are. And this is a story also about what you do when there is a government around you tearing down everything that you have built up. When the time came, Pasha Talankin made his moral choice to resist.
He's Mr. Nobody no more. Charlie Chaplin remains one of Hollywood's enduring legends. His films, like Modern Times, captured the hearts of early moviegoers around the world. Today, Tracy Smith tells us two current stars are helping to keep his creative spirit alive.
Near the corner of Sunset and La Brea, there's a Hollywood studio that for singer-songwriter John Mayer is also a state of mind.
So we're kind of standing on the dividing line where every time you drive in as an artist, you can shake off whatever's behind you, literally, and you can just think about. the work you want to make. When mayor and director Joseph McGinty Nicol, known as Mick G, bought the place recently, they landed a piece of Hollywood history.
So this was Chaplin's screening room.
So now let me take you back to the good old silent days. as in Charlie Chaplin, the English silent film actor and director. Uh Back in the silent movie days, his character The Tramp made Chaplin one of the biggest, wealthiest stars on the planet, says Hollywood historian Mark Wanamaker. He had plenty of money, and Sidney Chaplin, his brother, was the business manager. And they decided they should have their own studio.
They felt they were creating something special, artistic, in this new budding industry. Chaplin made nearly all his films here, and since then the place has had quite a run. In the 60s, Herb Alpert and Jerry Moss turned part of it into the famed A ⁇ M recording studios. Then it became the home of Jim Henson's Muppets. Yeah.
And they put Kermit the frog on the front gate. as the tramp. Which was a landmark there. When Henson's company moved out, the historic lot's future looked uncertain. How did you hear that this place was for sale?
For me, it was the worst-kept secret in Hollywood. And we heard about it, and you know, John sniffed around and did it his way, and I sniffed around and did it my way. And then. He sort of turned away from that idea. Couldn't afford it.
I was advised that it was probably More money than it was worth. And then We looked at one another and was like, maybe we could go in on this together. You know, it's a very challenging time for the recording studio industry in the world because of technology and the ability to record at home. It's also a very tricky time for Hollywood itself. And I'm of a vintage where I saw aerospace leave Southern California.
It made me sad. And now we're seeing Hollywood leave Southern California. And I think it's a defining characteristic of our town.
So if we have a chance to lead by example and plant our flag and try to do the right thing by the people who help define the culture of this town, cheers, we're all about it.
So, this is our sound stage. Wow. Yeah, the funny thing is, it used to be outdoors. It was open. Indeed.
Mayer and Mick G renamed the lot Chaplin Studios and gave it a light refresh. Are you fit? Mick G, director of blockbusters like Charlie's Angels and EP of the TV show The OC, claimed Chaplin's old office. Do you feel the spirit of Charlie Chaplin? Here.
I do. I mean, I do my best. I don't know. Are you hippy-dippy, granola, spirit world?
Somewhere. I'm somewhere between... Earthly and spiritual. That's a combination that served Mayer well in his 25-year Grammy-winning career. He oversees the recording studios and the extraordinary legacy of A-list artists who've made music here.
And it's too. Carol King recorded Tapestry in Studio B, which stayed on the charts for more than five years. In Studio A, just about every pop star of the 80s gathered under one roof to sing. This is the matron saint. Of recording in this area of town and in this building because Joni Mitchell.
made so many of her You know, really iconic albums here. Sitting in a park in Paris, France. Mitchell recorded Blue in Studio C, which Mayer has made into his personal studio. This is the perfect size planter to grow. A seed in.
We all want to drive home with a song. And if we can't, It gets under our skin. And we come in the next day. We think we know it. I think I got it today.
I think I got it today. And when you get it, you walk on air. When you don't, We'll get it tomorrow. Maybe today is the day you write Thriller. Chances are it's not.
But the only way you get to the to the chance that it is is you sh keep showing up. And this place is for people who keep showing up.
So, what's the best moment you've had in this room? In this room. I recorded a song called New Light in this room. which was a a pretty big hit for me. But if you can In just one night.
With its recording studios, sound stage, and multiple places to just hang out, Mayer and Mick G envisioned Chaplin Studios as a place where artists might naturally bump into each other and collaborate. The vision of the whole campus is, you know, a collection of artists doing their thing. The payoff for their reported $44 million investment is uncertain, but John Mayer doesn't seem worried.
So I'm happy. If my bottom line stays about even, it's you don't plan to make any money? I don't think about making any money. This was just about keeping the place going. To have a few things in life that are what I call emotional assets.
just something important. That's three-dimensional. It's part of a very well-rounded life, I would say, to have something like this. Has the chaplain legacy? become part of your legacies?
I feel like there's been three Eras of this facility. There's the Chaplain era, there's the AM era, and there's the Muppet era. Uh And Chaplin got the. Longest standing ovation when he returned from exile at the Academy Awards in the history of the Academy Awards. We hope it's the echo of that applause that fills us moving forward.
That's beautifully put. That's nice. Yeah. That's making it. That's making it.
Senior contributor Ted Coppel offers a unique perspective. reminding us what the 1979 Iran hostage crisis can teach us about the conflict unfolding today. The demonstrators burned the American flag blindly. November 4th, 1979, it was a Sunday. I remember because I was at home and tried to talk my way out of heading back to the State Department.
Extremist revolutionaries attacked the American embassy. The same thing had happened just a few months before, and at the time. The U.S. Ambassador had negotiated the demonstrators off the embassy grounds in a matter of hours. I ended up on camera anyway, telling Sam Donaldson and our ABC viewers that the crisis should be short-lived.
Ted, the Ayatollah's support for this action is ominous, is it not?
Well, it may or may not be ominous. The State Department is making a particular point to distinguish the Ayatollah Khomeini from the Iranian government. It may be useful to remind ourselves that analyses delivered early in a crisis are often as not. wrong. President Carter was expecting a challenge from Ted Kennedy at the time.
for the Democratic nomination for president. He, Mr. Carter, was depicted as being so tied up with the hostage crisis. that he couldn't leave town. The Cotter team called it the Rose Garden strategy.
Our efforts are going to remain concentrated upon the release of the hostages. For a while, the media and the White House were actually on the same page. ABC News in particular pounced on the story with a regular late-night special report. America Held Hostage. The title alone reminded viewers of what would soon become a massive problem for the administration.
There was no end in sight. The CBS. Over here at CBS News, Walter Cronkite was doing essentially the same thing. The 74th day of captivity for 50 Americans in Iran. Bringing them home had become a national obsession.
A popular song had morphed into something of a national anthem. Old tie yellow ribbons now the old time ribbons Yellow ribbons were sprouting all over America. The song carried a message of hope. but it also served as a constant reminder week after week that the hostages were no closer to coming home. Uh Back at ABC News, those special reports were no more.
They'd been replaced. This is a new broadcast in the sense that it is permanent and will continue after the Iran crisis is over. As for the Carter administration facing a presidential election campaign, Iran had become an albatross. It was my decision. to attempt the rescue operation.
And in April of 1980, President Carter ordered a military rescue, Operation Eagle Claw. to get the hostages out. During a sandstorm, two of the aircraft collided and eight U.S.
soldiers died. The mission. was aborted. Six unmarked helicopters and the remains of the transport plane were left behind when the American force withdrew. Many years later, President Carter told me there are only two people who benefited from the hostage crisis.
You? and the Ayatollah Homini. He might have added Ronald Reagan.
So help me, God. In a landslide election, Reagan was swept into office. and minutes past noon on Inauguration Day the following January, the hostages were finally released. It had been four hundred and forty four days. That was an outcome we may want to remind ourselves that no one in either the media or the government.
had predicted when it began. Writer-director Sophia Coppola has won an Oscar and a slew of other awards over her distinguished career. Yet her latest project is something new. Her first documentary. The subject?
Her longtime friend, fashion designer Mark Jacobs. Together they're in conversation with Anthony Mason. Yeah. At the Museum of Modern Arts in New York this past week. Walking in and seeing the poster, it's a great.
Yeah, I'm like, oh my god, it's a real thing. Mark Jacobs and Sophia Coppola showed off their latest collaboration. We're so thrilled to have our premiere in New York at MoMA. We're always looking for something that we're interested in or excited by, right? And then you can't kind of find inspiration that way.
You kind of have to be doing something and you have like some kind of connection to it. In the new documentary Mark by Sophia. And the accompanying book.
Somebody find me Joseph? The film director follows the fashion designer as he prepares his 2024 collection. This is your first documentary. Yes, I wasn't planning on making one and it was really fun to do something. It was an offer you couldn't refuse?
Yes. They've been friends for more than 30 years now. What to do? Warp a leisure. When I was living in Paris after Marie Antoinette, Mark was working there, so we spent time in Paris.
We had a Paris chapter.
So we have lots of memories. As collaborators, they've been in bed together. Literally. At one point you were in weren't you in ads for Yeah. Oh, yeah.
All those Jurgen. And clothes. I know, I forgot about that. We have Jürgen Teller photographed her for Jacob's Perfume and Fashion Lines. It's funny, my daughter she saw that somewhere and she was like, This is this is the best look.
I always love Lamarck's view, and I feel like I could always go to him with a major event that I had and I always knew I He would make me something. This is Sofia Nicopola's first Academy Award. Coppola wore a Mark Jacobs dress in 2004 when she won her Oscar for Best Original Screenplay for Lost in Translation. Where do you think you got your instincts as a director and as a filmmaker? Oh, that's a good question.
I don't know. I think I've always been really inspired by photography and there's nothing I love more than being in a bookstore with photo books. And so I always start with photo references. For 12 weeks in 2024, Coppola followed Jacobs with a small crew. Yeah, it was me and my brother the first day and then I had just a little camera myself.
There's some shaky camera work that I'm a little embarrassed about. I said, wish Arms Go. forward and which arms go behind. She focused on the designer's creative process. I remember the stockings, like this whole meeting of the intense focus on the shade of the color, of two different shades that looked the same to me.
Yeah, it was just really interesting, all the focus, all the details. And next, a trio of fabulous sweaters. By Mark Jacobs.
Some of the archival footage she uncovered surprised even Jacobs. I think that Parsons thing, I don't remember ever seeing. I love seeing your fashion show at Parsons with the models. Jacobs was named Student Designer of the Year at the Parsons School of Design in 1984. When I saw that footage, I thought, oh, he already knew where he wanted to go.
Oh, I definitely knew where I wanted to go. That was for sure. I didn't know how I was going to get there, but I worked. The sweaters he designed at Parsons were later produced by Sharavari, a chain of New York boutiques, and highlighted in the New York Times. It featured Jean-Paul Gauthier's big tapestry sweater and my, you know, op-art sweaters.
So that was like the biggest deal. Like, oh my God, I'm in the New York Times. And I'm sharing a page with Jean-Paul Gauthier as the two big oversized sweaters to own. Like, these are the two.
So that was like huge, huge, huge for me. Jacobs was made creative director at Peri Ellis in 1992. Yeah. his now landmark Grunge Show brought the new real aesthetic to the runway. It was just me, like, kind of getting to that place where I'm going to do what I like and I don't really care what anybody thinks.
And I do care what people think, but I guess I didn't care what the people at Perielis thought.
So, how did you feel about the reaction? I kind of loved it. Grunge is ghastly, the British fashion critic Susie Menkis declared. The outfits, the New York Times said, looked like they were put together with the eyes closed in a very dark room. I think I liked being the bad boy.
You know, I think it was fun to be the subject of such. conversation. And then it was also getting to that place where I'd like to be loved and hated. Like I don't really care about this middle ground. I've been doing the middle ground for two years and nobody's satisfied.
In 1997, Jacobs moved to Louis Vuitton and injected new life into the staid luxury brand. I thought about Duchamp and how he defaced the Mona Lisa with a mustache and it was like really this great punk idea in art, which was like to deface something to show it no respect.
So I thought, well, I've got this monogram here at Louis Vuitton, which is like, you know, that's its thing. That's its American flag, it's Mickey Mouse.
So he reached out to designer Steven Sprauss. And I invited him to deface the monogram with his graffiti in a very Duchamp-like manner. And that was the beginning of me finding my Roof. Mark by Sophia had its world premiere at the Venice Film Festival last fall. And it was really fun to be there with Mark because you had never been to the film festival and taking the boats.
It was much nicer than I thought the experience would be. I read you were a little nervous about how you were going to be judged, I think. Always. You know, I live and work to show my work, but then it's so frightening to show work, but like showing the work is part of the work in a way. Like you're not doing it for yourself, so you are kind of doing it for other people.
I felt totally the same way. Like why do I put myself through this? But then you make it because you're excited to share it. How did you feel when you watched the film? I remember having this reaction of like, I didn't hate myself at the end of the movie, which is what I guess my real fear was, that I wouldn't like the person that I saw.
And I really did feel like, oh, I like that person, you know, and that's kind of a big deal for me. I'm so glad. Mission accomplished. Steve Hartman's story this week is almost too good to be true. Surrounded by friends and family on his birthday, this 10-year-old was on Cloud 9.
But as you'll soon see, his bliss hasn't come easy. Back in 2022. That boy, named True, needed a heart procedure. He was under the care of social services at the time, and the day of the surgery, for whatever reason, He was just dropped off here at Children's, Nebraska. Anesthesiologist Amy Beathy found him in Preop.
He was just sitting there all alone. But wait, so he's there for a major procedure, and there's no adult with him at all? No adult with him at all. Why were you there by yourself? I have no idea.
Did you know why you were there? The procedure lasted about seven hours. And through it all, Dr. Beathy says she just kept staring at the sweet face. of the poor boy, who at that moment had no mom or dad or stable home life.
And that's when Amy decided that even though she already had six kids, She just had to take in. This seventh. After I dropped true off in recovery, if I called my husband. And I just said, we need to have a talk when we get home. I need you to have an open mind.
Ryan says he was a little hesitant at first. But it didn't take long to hear what was needed, and it just felt right. A year and a half later, their adoption was complete.
So yeah, that's how the story goes. But it's not how the story ends. Up until that point, True had been living with five other siblings in that same unstable home environment. Amy knew she and Ryan couldn't adopt all of them.
So the good doctor decided to do the next best thing. First, she got her sister and her husband to agree to adopt Tai Lin. Then her sister-in-law and her husband took Tyra. And finally she got a co-worker and her husband to make Malia and Takari part of their family. There was one left.
And then I went back to my husband. And that's how Lainey got adopted, too. And all of this because of a doctor who believed that saving lives wasn't just her day job. Who advocated for the voiceless and recruited a village to make six lives better? for many birthdays to come.
Why don't you have a Nobel Prize? Why aren't you a general? They're making me one for this. Perhaps I'll have the same luck. A Nobel Prize for making a bomb?
Alfred Nobel invented dynamite. Nearly three years ago, Killian Murphy rose to global fame for his role in the blockbuster movie Oppenheimer. Murphy won a Best Actor Oscar for that role. But as Seth Doan discovered in this morning's Sunday profile, he prefers keeping things low-key. I read that you don't love this, sitting down to do an interview, to promote a film.
No, I enjoy this. I enjoy a considered. Chat about the teams and the work that I enjoy. I think it's The more condensed version of it. It's very hard to soundbite something you've worked for years and years on.
I guess I'm like, I'm realizing, I guess I'm just a bit, I'm just quite a shy person.
So that makes me maybe potentially a interviewee. Quite the contrary. When we met Killian Murphy in his old London neighborhood, great restaurant, I've eaten here plenty of times. We found the Irish actor's thoughtful and deliberate approach to an interview mirrors the way he tackles a role. I am more than aware that you are not intimidated by me, Mr.
Falcone. But you know who I'm working for. It had something to do with her. For someone who does not chase the spotlight, his performance is often commanded. I'm not going back.
Okay, Mike. They say acting is like the shy man's revenge, you know what I mean? Because you can be whoever you want. Do you feel that's the case for you? I think so.
I certainly feel very comfortable on stage and very comfortable. Inhabiting somebody else's shoes, you know. For years, those shoes or boots have belonged to Tommy Shelby. We have to use guns. Let's use propaganda!
The charismatic gangster who rules post-World War I Birmingham, England in peaky blinders. Get yourself a decent air, Grapana. We're coming to the rises. Starting in 2013 as a small show on the BBC, it developed a cult following, was picked up by Netflix, and ran six seasons. This man, ladies and gentlemen.
It's Tommy Shelby. Mm-hmm. It's Tommy Shelby. Now the story continues on film in Peaky Blinder's The Immortal Man. which pits Tommy Shelby against a new rival.
His own son. Played by Barry Keogan. How do you get into a character like Tommy? I did an awful lot of reading about Britain between the wars, about the effects of What we now know as PTSD. And then you kind of have to figure out the physicality and figure out the walk, figure out the voice, figure out the costume, figure out the mannerisms, figure out the.
Energy of the character, all of that stuff. How about playing the same character for so many years? Is there ever a time that you thought, I don't want to be too associated with this guy? No, I mean there's this adage in show business like don't quit a hit and I think that is Correct. If something's working, audiences love it, the writing is good, you're still enjoying it, don't quit it, like, you know?
I know all about the baby. And the man he has become. I left him our kingdom. No, you abandoned your kingdom and you abandoned your son. you find yourself drawn to particularly complex or Tormented characters.
I think that's where good art exists generally. Certainly in the art that I enjoy, it's never easy. It's a little tricky. It's not. reductive as human behavior is so Weirds.
That's the stuff that I like. You're talking about turning Theory. into a practical weapon system. Faster than the Nazis. Who have a 12-month head start.
18. portraying J. Robert Oppenheimer mixed all of that. He won't. Murphy shed weight to become the wiry, brilliant theoretical physicist, tormented by his own creation, the atomic bomb.
I feel that I have. Black on my hands. A box office phenomenon, the film took in nearly a billion dollars and earned Murphy that Oscar for Best Actor in 2024. I'm a very proud Irish man standing here tonight, so. Does it take some pressure off?
To win an Academy Award, like, okay, well, at least I've done that. Or does it add pressure? I don't really know. I mean, you know, I made a couple of films after Oppenheimer. It's alright, Child.
I made this little film called Small Things Like These, and then I made a film called Steve. If you say the school is closing in the middle of the school term, then they're gone. We have to care for these kids. I suppose if it helped get those films that were very important to me and those stories out into the world, if that helped, then that's I'll really I'll take that, you know, I'll lean into that. Even at the top of Peaky Blinders, the movie it says, you know, Academy Award winner.
I mean, it's it's part of the brand. I guess so, yeah. It is one of those kind of iconic things in our industry, you know. You know, you just feel very humbled to be in that club, I suppose. I don't think about it very often.
The fame thing he tries to wear lightly. Oh yeah, I'm gonna take this off so I don't look like a tool. Yeah. At a park in the North London neighborhood where he lived with his family for more than a decade, the movie star did not want to play that part. Kind of the less that people know about you, the more.
you can inhabit the character, you know, and just portray that character as honestly and convincingly as possible. because they don't think Oh, here's this guy who I know this and this about. Yeah, yeah. And inevitably that becomes a little bit eroded, I suppose. If you're in more high profile work, you try and preserve it as best as you can.
How do you try to preserve it? Because you're certainly doing high-profile work at this point. I guess so, yeah. I don't know, it's just it's there's a tension always, yeah, there's a tension.
Some of that is released at home in Ireland, where he lives with his wife, artist Yvonne McGuinness. The couple has two sons, now 18 and 20. I like to run, walk the dog. Meet my pals, go to the pub, you know, all the boring stuff. All the things you'd kind of expect a normal human to do.
Exactly, yeah. The 49-year-old tries to stay offline. Are you aware of the disappointed Killian Murphy meme? The one. What became the unwitting face of an internet meme, the epitome of looking, well, over it.
And we might have caught a flash of that ourselves after an admittedly awkward question. Your eyes, your cheekbones, get a lot of. comment. Right. You roll your eyes back.
Well I mean what can I do with that? I don't pay any attention to that, honestly. Yeah. Just try and make the work, you know? And that's not something you can control, is it?
No. Yeah. But it works for you. I guess. There are things that people remember, that they talk about, that they write about.
Yeah, I guess but again it's like I have no point of view really. A mass. That's just embarrassing. He focuses on what he can control, the craft. You do take the work deadly seriously and you promote the work because you want people to see it, and then you just go quiet.
Tommy, you've got to come back with me. Killian Murphy guards that quiet between projects, much less interested, he says, in the bubble of stardom than the pursuit of a good story. Fox News is now streaming live on Fox One. When it matters most, Turn to the voices you trust. We go beyond the headlines, bringing you the stories you won't hear anywhere else.
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A few weeks ago, we lost a giant in the world of filmmaking. Celebrated documentarian Frederick Wiseman died at age 96, leaving behind a truly extraordinary body of work. Our David Pogue spoke with Wiseman last year about his life and legacy. A Frederick Wiseman documentary doesn't have a film score. There's no narration.
Perfect, perfect, perfect. No text identifying the people or places. No reenactments. No interviews. They often depict meetings, phone calls, and conversations.
And these movies are up to six hours long. Not the ingredients you might expect. for masterpieces. They play out over a long time. And so he can develop this sense of What's going on, what's happening?
He got out of the way and just let things happen. Yeah. In 2016, Weissman was awarded an honorary Oscar. It's important to document kindness, civility, and generosity of spirit. as it is to show cruelty, banality, and indifference.
You don't like the term documentaries, right? No, I like movies better, it's simpler. And you know, maybe because when I grew up, documentaries are supposed to be good for you. And I thought what used to be called a documentary. could be as funny as that, as tragic as, uh, It's a fiction film.
In his 96 years, he made 44 documentaries, without ever telling you who's speaking, what you're seeing, or how to feel about it. You have to answer it yourself. My job as an editor is to provide you with enough information In the context of the film, so that you're stimulated to pose that question and that you can answer it yourself. Wiseman grew up in Boston, went to Williams College and Yale Law School. Then, in 1966, he filmed an inside look at a state prison for the criminally insane.
He called his movie Titticut Follies. It caused a sensation. And changed his life. I mean, there are prisoners naked, full frontal.
Okay. What do you say, Jim? There are guards who are Pretty abusive. And no one ever said, hey, turn off the camera? No.
Once they gave me permission I had access to everything. But titticut follies was so shocking and politically embarrassing that a Massachusetts court banned it. Years passed. And then in the mid eighties I saw an article that said Tiddy Cut Folly's Judge Dead. I don't say that I was displeased with that news.
and in front of a new judge and ultimately it was clear. Wiseman's movies go behind the scenes of institutions.
Alright, how many would be a member of a club or half the members? were Negro members, the other half were white. A high school, a hospital. It was a kill, or did you shoot up? A police department.
A welfare office. You're supposed to send those checks. I'm a single issue. You never sent them. But I'm not the problem.
A domestic abuse shelter. You made the right choice to come to a safe place where he can't touch you or hurt you anymore. You have described four of your early movies as Some of the most depressing films ever made. There are aspects of some of the early movies that are depressing. There are also aspects that are extremely funny, in my view.
You're not going to die. Uh I mean if you have a sick sense of humor. And uh ten CC's of Ipacap. Yeah. Make it 20.
For all his movies, Wiseman served as his own sound man. And these things? I mean, well, those things are earphones. They once were earphones. Wiseman did no research before filming.
Shooting the movie is all chance. You never know. what people are gonna say and do, which is one of the reasons I have to shoot a lot of film and For most of the films, it's 100, 150 hours. Doesn't the presence of a film crew subtly affect the way people are performing?
Well, if th that's the eternal question. I don't think people are good enough actors to suddenly change their behavior. After shooting those one hundred fifty hours of footage, he would spend eight to ten months alone in the editing room, where, as he freely admitted, he shaped the story. But wait a minute. Documentary is supposed to mean Real.
The truth. I mean the notion That these movies are the truth. It was completely phony. It's one person's version. It's my version of a welfare center.
Somebody else would Spending time in a welfare center would make a completely different movie. Over the years, Weizmann was occasionally asked to make a trim or two. and he always refused. It may be pretentious to me, but I think when I find a form for the material, That's the movie. They're not isolated sequences.
What do you think your reputation is with these people? What would they say? I hope they'd say he's a very nice guy, but he protects his movies. I'm wondering. Weisman's movies were never what you'd call theatrical blockbusters.
They might play in 60 or 70 theaters in America. And how about T V? Oh well, PBS is showing everything. PBS has helped me in every single film I made.
So television is a different deal though, because there are time constraints. Do they ever say? Come on, Fred, six hours is too long for this one.
Well, they said it once or twice, but I said no. And I won. It's good to see. His last movie, about a fine dining restaurant in the French countryside, came out in 2023. You can watch all of his movies for free on canopy.com.
You just need a library card.
Meanwhile, they still teach wise men in film schools. They still put on Wiseman festivals. Thanks so much for your work. And when we visited his home in Cambridge, Massachusetts His shelves were lined with awards. I mean, I obviously liked the fact that the films were recognized.
that they get awards or critics write intelligent reviews. But the satisfaction It's not that. The satisfaction is the work. I love working. and I I love making movies and I n never get tired of sitting in Front of the editing machine.
Thanks for listening. I'm Mo Raka. Please join us when our trumpet sounds again.
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