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tv   Lynsey Addario Of Love War  CSPAN  December 31, 2018 4:20pm-5:16pm EST

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washington bureau chief for mother jones magazine will discuss all of his books, including his most recent. russian roulette, the inside story of putin's war on america in the election of donald trump. sunday january 6, 12 to 3:00 p.m. eastern, mr. will join us live to answer your questions. visit for book information. live with david corn january 6. >> thanks everyone, good evening. thanks for joining politics.
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from the programs manager. i run the classes, groups and trips. a few housekeeping notes. when we go to q and a, go to the microphone. we are recording this and we need the audio and also silence your cell phones. for more information about our events, check out our website and counter events upstairs. lindsay will find the books here afterwards, books available at the register. on behalf of our owners, the graham and muscatine and the entire staff of politics, welcome her to of love and work. as a prize award winner, who works for the times, the book features over 200 photographs that capture powerful images in dangerous environments around the world. pain, suffering, joy and hope. the testimony on human rights
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issues. it also includes a personal correspondence as she processes her thoughts that are very deep. she is one of the few journalists in afghanistan before 9/11. she returned with the new york times after 9/11 to cover the war and the emerging issues of women's education. she has traveled to iraq, libya, 11 on, south sudan and democratic republican of congo. it's what i do, it's in production or seems to be. directed by scott featuring scarlet. we are very lucky to hear her stories first-hand tonight. 2015, american photo named lynsey is one of the five most influential for photographers of five years. she changed the way we saw the world conflicts. she was awarded a prestigious fellowship 2009 for her
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dedication to demystifying foreign cultures and exposing the tragic consequences of human conflict. providing valuable historical record for future generations. is a lot more extraordinary things i could say about lynsey but i want delay in joining lynsey in conversation, robert, graduating writer for new york times magazine and author of a rage. please welcome, lynsey and robert. [applause] >> thank you all for coming. sorry about being late. i was in traffic. >> i'll say a quick word. it's a huge pleasure to be here with lynsey. not only because this book is fantastic but we worked together for many years. i think we first met in 2003. one of the more wretched place
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on earth. just three weeks ago, we were together in yemen. doing a story which is closing in about an hour. anyway, it's a privilege and great to be here. i look forward to hearing about your book. >> i'm going to skip through here. i'm going to start with a family photo. a lot of people ask why i decided to become a war photographer. i start with this picture because i'm the youngest of four sisters. it's great training for being a war photographer. i got beaten up a lot. i started the book with a selection of images. these are images that didn't really fit into any of the other sections. when i decided to do a book of photography, i had 23 years of work that i hadn't ever put into a collection before.
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millions of photographs. i found a book designer, stuart smith in london, went to his studio and dumped my entire archive on him and said, what do you think i should do? these are some of the images that didn't really fit anywhere else. this is for my first assignment with national geographic magazine. on growth nationals happiness. after i had been covering war for eight years. i got the assignment and was very confused about how to do that story. you're sending me to shoot happiness? what is that? from the drought in africa in 2011, and this is a 3d cinema 5d cinema in baghdad in iraq. we work together in 2003 for iraq. i went back in 2009 and ten for
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national geographic to do a story on baghdad coming back to life. i included early contact sheets. i wanted to show how i progressed as a photographer. when i started out, i moved to india in 2000 and i was using a lot of panoramic. i was shooting black and white, i was going to places like bern aussie were a lot of photographers go. then i started working in afghanistan. i had a roommate at the time in india who was working afghanistan and he came back from the trip and said, you are a woman in care about women's issues and you should go to afghanistan two women living under the taliban. i said okay. i had no money. i was a freelance photographer and 27 years old. i called my sister and asked if i could borrow $2000. she said yes. i called my mother said i'm going to afghanistan. she said have a good time. i went.
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so these are some of the early pictures of ask aniston under the taliban. photography was illegal at the time. photography of any living thing. i had to keep my camera in a bag and sneak around and take pictures when i could. i had no experience doing this. a lot of my pictures were not very good. this is that panoramic camera. some street teens in trouble. scenes. there was a drought in west afghanistan in 2001. march 2001. i was working with the driver, as bobby knows, we work with drivers and translators and they are everything. they give us access and ideas, help us fulfill the stories we want to cover. the driver said, i must leave early today because my brother
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is getting married. i said, great. let's go. this is when every form of entertainment was illegal at the time. tv, music, men and women together who were not blood relatives. he took me to this house and it was silent on the streets. i remember going downstairs, into this basement where i guess this room us and the soundtrack for the titanic was blasting in all these people were dancing around in women without jobs and make up and it was incredible. this was the first time i realized there's a lot that happens behind the scenes and behind closed doors. especially in poor. that became an inspiration for me to try and photograph the unexpected and surprising moments in word. this is right after september 11. the fall of the taliban. i remember the first journalist driving in and i was with ruth,
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who is a photographer for the new york times, the newspaper. we drove in and i remember looking out the windows and seeing these men and being terrified to get out of the car. ruth just opened the door and jumped out. i thought, okay, if she can do it, i can do it. i just jumped out after her. when the regime falls, we as journalist, have the incredible privilege of going to the intelligence offices, the presence, all of the places that are normally off-limits to us. so this was a prison, this family had been in prison since before the taliban came to power. he didn't even know the taliban had been in power. he had been there so long. the war in iraq. how did you enter the war in iraq? >> june, 2003.
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>> so there was, we also have took different paths to covering iraq. so for me, i wasn't sure i'd be able to handle combat. i emotionally would be able to keep up and physically. when i knew i wanted to cover what we all knew was going to be a war, i offered to go to the north, northern iraq. it meant crossing you legally from iran. then waiting for the work to start. in that time, there was a proxy war going on with kurdish backed by u.s. special forces. against a monster. it was a group going to al qaeda. immediately, i was thrown into these scenes without any experience. then saddam fell and april 2003. all of the journalists in the north, we made our way down and this is interview. in one of the government offices.
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he seems like everywhere, people celebrating. they pulled american troops out of their humvees and kiss them. through flowers often. it seems like this, people were reading to get back into their homes and u.s. soldiers became this de facto government. after the fall of saddam. there were mass graves across the countries, i don't know if there were still -- >> i don't think i ever to those. not that. anyway. we started having more as the work started. >> sure. this is when south of baghdad, these unbelievable scenes, they had been murdered under saddam. they would try to find remains of their loved ones because they could never really publicly grief at that time. there was chaos, all across the country. there were, after the fall of
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the regime, people were rooting, looting and stealing. there was a fire in the factory in this one woman was looking for her husband. as the war went on, you can attest to the amount of explosions that happened almost every day. the new york times, we would basically sit and wait, we would hear an explosion, everyone would run to the roof and took the smoke and go run toward the bomb. try to find it and cover it. if we got there early enough, we could cover it and if we got there after the american troops and iraqi soldiers had warned off the area, we can do anything. >> one of the phrases i learned, where is the explosion? >> we all learned that. in this particular occasion, this is a father with the body of his son. i heard there were iraq man who
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were trying to sign up to be police. this happens now all the time. as soon of the suicide bombers went, the line of men trying to be policeman and so i went to the morgue because that was another thing we did as journalists. i went to the morgue to try to talk one of the family members and i was sitting on the sidewalk outside of the morgue with the father. the father was with his brother and they were waiting for a casket because there were so many kills that they had run out of caskets. we were sitting there together and the father was crying and crying and cursing america and americans and saying this to me and cursing the occupation and i said, i am so sorry. i'm with the new york times and i'm so sorry for your loss. he said, do you want to see my son? he took the inside of the morgue and pulled the sheet off his son and started crying over the body. he said, take this picture.
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he was yelling at me. so sometimes we are in these situations that are heated. it can go any way. in this case, he was telling me, show the world what is happening here. we did military going amount with the troops, with iraqis and also ended with the military as they collected their wounded. this is during falluja in november, 2004. i was with the military of the winded coming out of falluja. >> previous photograph, coming out of the grave. what was going on there? >> i had gone on an all-night patrol with the soldiers and we were in the semi triangle and they said there were people they
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thought were insurgents. we rated this series of homes in the middle of the night and went in and they just rounded up and put bags on their heads in zip ties on the wrists. the next throughout the night, they took them into this room to photograph them and process them. we were able to photograph and we couldn't talk to anyone but we were able to document what was happening. this was before, i think it was before -- when was it? >> 2004. write about that time. this is the inside of a c-17 aircraft. a clear out the inside of the aircraft because there were so many wounded soldiers coming out of falluja. they laid wounded on the floor of the aircraft. this is how they were flying a young man in germany. he had been wounded in the battle of falluja. they took him on a school bus to the aircraft and voted him like this. these are images really hard to
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capture. had been covering more for three years and i had never releasing wounded american soldiers. it was something that was off-limits to us. when a soldier died, it was even more sensitive. this is a situation where i was with the medevac team and they took up this young man, he had stepped on an ied, lost 9 pints of blood. when we picked him up, he was totally unresponsive. they took him to a field hospital and i was there photographing for 29 minutes while they tried to keep him alive. the cut open his chest, massaged his heart, it was incredibly devastating. the entire room filled up with soldiers and officers. one of the officers said, you can't, you can't shoot this. i was trying not to make any noise and to stay in one place but of course the sound of my shutter was piercing the room.
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when the officer came over and said you can't shoot this, all the other soldiers stood up and said, she needs to be here. americans need to see this. i was able to keep shooting. this is the prayer they did for donovan taylor. 2007, i went to the valley with elizabeth rubin, for the new york times magazine. we went because we heard was one of the most dangerous places in afghanistan at the time. the u.s. was dropping the most bombs there. we went to try to get a sense of the rhythm of war to document civilian casualties but it ended up being a story about the nuances of war. we were ambushed at the end of a six-day operation. well, i left at the sixth day. i was scared. so i left. i flew out with the belongings of the sergeant killed in this
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picture. exactly a year later, i was working for the new york times magazine and we went to do a story on the taliban of pakistan. this is a very difficult story, dexter went ahead for about a month and lined up contacts. when i'm working with a writer like bobby or dexter, they do a lot of the work. if i'm lucky, i can come in and they've already made a lot of the contacts. sometimes we help each other, sometimes i have contacts, sometimes the writer has contacts. this case because of story on the telephone, dexter had great contacts and i flew in a few days before. the night before we were supposed to leave, to meet him
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in the tribal area in pakistan, they said you are welcome to come tomorrow but the one thing you can do is bring a woman. dexter and i were like, how are we going to do this? our translator, who was quite sympathetic said, can't you give mr. dexter your camera? kitty take the photos? i said, no. not possible. we were able to go in. we were husband and wife we said. we were able to meet the taliban and spend time with them. this is part of the 2009 on future reporting. about a month after we met them, he was killed. by another taliban commander. this is a man who said he was a suicide bomber and he wanted to go kill americans in afghanistan. he was saying he wants to kill americans. >> with a gun? >> with a gun. there were a lot of guns.
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also, just to back up, a moment where dexter was interviewing him, the taliban commander. he said, dexter was asking for they got the funding, he laughed and said, where do we get our funding? your tax dollars. so that is the importance of being a journalist. to listen to these guys say, what they have to say. obviously these are things we would never get a must we were actually there on the ground. there's a series on women in the military. this is before the pentagon lifted the ban on women being on the front line. women were on the front line before that. this is 2009 -- ten. female soldiers women, with their helmet and their best, they went to them in runway. they thought they were men. they didn't understand they were actually women.
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the female american soldiers had to take off her helmet and show them their hair, we are women like you. this is one of those moments. this is amy after we were doing medevac. it was fun for me for the first time, there were women i could hang out with on the frontlines. i was voice off on being one of the omen, only women. afghan women training to be police. women in prison in afghanistan. she was actually put in prison for asking for a divorce because she was married to a man who couldn't walk and his brother used to be her every single day. she was married at 13 years old and when she was 20, she asked for a divorce and put in prison. i started shooting mortality in
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2009. after i won the fellowship and one thing i wanted to show was white women died at childbirth. about 500,000 women dying every year in childbirth at that time. it was because of her very few doctors and very few roads to get to medical professionals. i was working deep in the tribal areas in the provinces of afghanistan. a woman had to take a donkey or walk if she was in labor and music care. on the way back, i saw these women on the side of the road and the woman on the right turn out to be in labor. we knew something was wrong because there was no man with them. we stopped and offered to give them a ride. they said they needed permission from the husband. i sent the doctor to find the husband. we took them to the hospital after we found him. next images are from there. bobby, you can enter at any
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time. >> being a woman -- an obstacle. there must be a lot of situations were being a woman gives you special intro where people can go. >> i get that question at the time. isn't it hard being a woman? know, i think it's a great advantage but for me, i can access women, move around on detected, often. in many of the countries where i worked, women are underestimated. the kind of don't even paying attention to me. i've been able to move around. in yemen -- i could wear local quotes. no one knows i'm even foreign. >> you and your friends there. [laughter] >> they would see me and look at
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me and waivers on. we went through 35 checkpoints and they would look at the woman and seiko. >> i was in the back as much as i could. >> first you were in the front and this is not a good idea. we have a white, foreign man in front of the car. these images are from there. i'm sure this story was difficult because the government didn't want journalist there. we had to sneak in through neighboring chad. i was working with them in 2004 and we flew into chad and we walked the desert through rivers for about a mile and a half and we linked up with the rebels. it was the only way to cover what was happening there at the time. they were coming its own people's. president of sudan has said
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there were no government shoulders killed in this ambush. we heard there were and so we went to the border, i was working with lidia and we went to the border between chad and sudan and said, did this really happen? they said, yes it happened, government soldier bodies everywhere. we said, can you take us? they said it's dangerous. government aircraft flying overhead. we said, it's the new york times. we have to see it to report on it. they said, okay. we jumped into the back of the truck and drove about 15 minut minutes. there were bodies everywhere. this was on the front page of the new york times. president clinton denied what happened. for me, this image is symbolic of the power. the importance of the work we do. this was the first time a woman admitted to me, i've continue to do that work throughout the years. this was there and there are
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women in the democratic publican of congo. >> that image, that's one of the images that stuck with me in the book. that's a woman, the children -- >> this is a woman who was kidnapped, enslaved for about six years in both of those children were born out of rape. i think this year's nobel peace prize winners for their work, to help with a weapon of war, i think it's important, this is an issue and i've seen throughout my career, he keeps coming back in most of the countries i've worked. in the via 2011, i was affected and held for a week. my big fear was being raped because to me, i've covered so many women who have been raped. i knew i was in a place where that might happen.
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so that was one of my big fears. this was a woman raped and impregnated with the interpreters, intruders child. their village was attacked, she couldn't run. she didn't want to show her face. so for me, i photographed very sensitive things. i always leave it up to the subject of a want to be photographed. i have to explain to them how the story will appear, some people who don't understand magazines, you can say facebook because they understand that people will see it everywhere. i really leave it up to them. some women do want to tell their stories, they want to show the face. some women don't. it's up to them. this is more of the maternal mortality war. this is a woman after her sister died in front of her. she had emerged after childbirth. this is the moment her sister
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passed away. she fainted. this woman gave birth. i photographed the birth and she started bleeding. i kept saying, i think she is bleeding too much. the midwives kept mopping up the blood and said she was fine. by the time a doctor was able to come because it was only one doctor in the whole province and she died. this is her funeral. libya. here in the beer. let's talk about libya. >> i think libya to me was maybe the most intense i've ever experienced. people were suddenly discovering who they were. know if you feel the same way. >> i was calling the front line.
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photographers, crazy as we are, a lot of what i was doing was covering the front line. it was so intense because we were working with a rebel force that had no experience. most of these guys, if you look back at this image, these guys, this is them going to the frontline. it looks like -- i'm not sure. i think we had more experience than they did. we, as journalists. they were doctors, engineers, teachers there was a call to arms and they went. we went with them. it was terrifying because as we were hit by troops and airstrikes at the time, there were ten crowns, sniper fire, it was relentless. these guys would run way. leave us, the journalists on the frontline. we had to run away after them. also the terrain was flat. >> i remember getting into a car, you are in a different car.
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i just remember thinking, if i ever die out here, it's going to be a car crash. we're shooting wildly in the air, driving 100 miles per hou hour -- >> it was crazy. it's funny because i didn't back at libya for a long time. when i was doing this book, i had to look, i had a premonition before i was taking, something was going to happen. i think on the 13th of march, i gave a hard drive of all my images to brian. photographer for the new york times. i said, i have a feeling something is going to happen. if it does, make sure my pictures survive. send this to my agency. so when i went missing two days later, he did. that's the only reason i had all the pictures from libya to that date. so when i went back to look at this photograph, it was
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incredible. i thought, we were insane. what we were covering in libya was unlike anything i had ever covered. i had been covering a lot of refugees. i had been kidnapped twice so i keep telling my family i'm going to stop covering war. obviously the hasn't happened. trying to do more of humanitarian work. a lot of stories about the syrian refugees, oliver in iraq, turkey. this is a long-term story on mothers, syrian refugee mothers. we followed them for time magazine through the pregnancy. through the birth of their children and through the first year of the baby's life. and on the mediterranean. applicants who still lives to go to italy to try to make it to europe. this is them being there.
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here are a few pictures from the event. i've only been given permission to show these. that will not appear in the magazines. this is from our trip. we can talk about -- recently i've been shooting in america. when i started out, when i was younger and i had first started out, i would walk into a situation and introduce myself but assume everyone was okay with being photographed. it wasn't until i was doing this for a long time that i realized the sensitivities that people can get killed. because of a photo or they can
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get exercised. they share their stories with the world. i move a lot slower now, i go into a situation, i often don't have my cameras out. i explained how it will be published, wyatt i think it's important to tell her story and then by that time, i also often interview them. i talked to them at length. i think that helps because they feel comfortable. they feel they have the right to say no. if you like someone cares about their story. >> i was curious, i was sure this was a woman a woman. but it's not. >> this is a rebel with a liberation army. this is in august, 2004. when we were going into darfur, we were told we had transportation provided. after we walked 2 miles to the
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desert path, there's a pickup truck i was half cut off 17 troubles on the back of the truck. all of their belongings holding them down. like, take a position that's how we drove around for five days. we held on to the ropes and they careened through the desert. of course the truck would break down every 15 minutes because there were 20 of us. this is when the truck broke down. >> an amazing image. >> thank you. >> it's an expressive face. >> so, a lot of the stories we've covered, i find issues are now here in america.
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i've been working a lot in the u.s., these images are not in the book. they are very recent but i wanted to wrap up before we opened up to questions. this is at the border, with border patrol. these are the new york times recently they were part of the 24 hours in america series. the border patrol agents chasing migrants. i'm photographing a book for nick on poverty in america. these are a few of the images. homelessness and on the opioid, drug addiction, the actions, issues of addiction in america. you can see what bobby and i were talking about. this is in pakistan in 2001. in iraq, 2003, this is right after saddam fell. falluja, that's crossing into darfur. i was how we did that. that's how he wrote around.
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this is with their stuff unpacked. this is after they took their backs off the back of the truck. we drove around on the truck. this is in afghanistan with a female engagement team. i'm the middle one. [laughter] 2009, no, 2014 maybe. that's it. [applause] >> let me ask you. how much time to have? one question. worked for photographers drive on adrenaline. you've done a lot of that. is war is that something that is
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traumatic and something that you get drawn back to because of the intensity? >> i'm glad you didn't ask, are you an adrenaline junkie? i was going to smack you. [laughter] i think, as you know, the goal is to affect policy and educate people on what's actually happening in these places that most people can't go because of safety reasons. including our policymakers. people in positions of power so i think it's more that need and want to inform people and affect policy that keeps me going back. of course, there's a special feeling when you're driving around yemen and you know that the information we get is very
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exclusive information that is necessary to shaping policy. so i think that creates an adrenaline rush. it's not the same as when you are under fire but it's still a war zone. it's an urgency and it is a need to be there. i think that is the thing that keeps me going back. we'll take questions. >> you mentioned that now you are photographing things in the u.s. was getting more, what's going on overseas or what's going on at home? >> home. look, i haven't lived in america for almost 20 years. it's very interesting for me to come back here and work because i see the u.s. almost like a foreigner. i think it's interesting to me that the issues, the same issues are here. that i've chosen for many years to cover them overseas. i think i'm still learning about
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america again. i've been abroad so long. >> there's a convoy making its way to mexico. from mexico. you expect to get a chance to join or be at the border when they arrive? what are your thoughts? >> i don't think i'll be able to join because i'm on book tour the for the next few weeks. i guess it depends on how long it takes them. i guess what i hope that people understand from the coverage and i think this requires intimate coverage. these are human beings. these are mothers clean with no children, blocks, walking, traveling for weeks, if not months. instead of saying these big bad
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people and middle easterners coming here, i think we need to end of elijah them and personalize and humanize what is happening. i don't know what will happen, if i finish book tour and they still haven't arrived, maybe i will go. i never know where i will be much in advance. ... >> i am struck by how casual. these are such heavy images and i am struck by how casual you both are. with all due respect. i really mean that. i don't exactly know my question but i don't know if anyone else is feeling that but i am feeling really, i don't know, emotional about what i am
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seeing. i am sorry. with respect. your laughter and some of what i am hearing. >> absolutely and i respect you coming up. important. we've been doing this work for almost two decades and where you live in these situations time and our job is to try to bring around and try to make you care unfortunately it creates an emotion. and so don't mistake my laughter for being insensitive. it's that i'm also a human need and i live in these situations all the time and i need also to process what i see in any delays. they also need to have some sort of release when i'm not there because don't get me wrong when i'm there i'm crying just like you. i'm next to people. i met funerals are done watching a mother holding her dying child and i'm weepy nothing shooting.
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so if i have a moment where i can actually laugh or relax, and i don't mean to be insensitive that is happening simultaneously, but we are trying to do this in a way that me so heavy that none of you can even process it appeared there also has to be some entry points for youat all too and tht is happening and if we sit here and are completely grim, then i don't know if it seems so far away that she won't even be able to enter. these are people just like us. they happen to be born in the wrong place and that's the only thing that separates them from us. >> i will just quickly add, i understand the fact of which ae saying. things are unbearable and i think one of the strange things about spending time in the middle of a war uprising or in a country that has been going through that for many, many
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years is thatpr these people hae strangely got endured to violence. i often find myself sitting there stonefaced and they are laughing. during the last month and now -- the guards who kept them. [inaudible] of them and their friendss being tortured and i sat there with them. i was sick to my stomachch and horrified and they laughed and i laughed andwa they laughed and i had the hardest time understanding it. one ofof them said there would e an expression that said it's the
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worst of the misery that makes youu laugh. you laugh because you have to mentally survive. >> exactly. saw that a lot in iraq. in iraq, drivers and translators and everyone we were wet for this unbelievable sense of humor and were covering explosions and death every day and that's the only way to get through it because otherwise what you have? >> thank you for that. i really appreciate that. i workly with teenagers in just today, just talking to them about not getting -- anyway, to longer conversation but i really appreciate the answer. i really do. >> i believe this to be for both of you. as war, especially american war abroad is evolving with contractors and unmanned drones,
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i wonder how war reporting is changing transparency, how you see coverage. >> you answer that. >> at the big question. it's very hard. there's been a lot of drone were there. i've actually written about the guns. it's tricky. it's complicated because with the warlike that there tends to be an overall impression of insult so if you ask any enemy about the american drone it's wrong.y'll say the truth is -- [inaudible] no say actually it's a lot better than if they went to that
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village and killed 100 people. i'm not saying that's always justification for a lot of wrong people killed and i've written about that as well. it is always more complicated and another reason why you have to go there and spend the time or be willing to get past the headlines. >> that's a very small bit of an answer to your question. >> no, i don't think i can answer that. i read your book. it was awesome. i was wondering can you say before you got kidnapped you had a premonition that something was going to happen and i was wondering now that your little more asked. if you had such a premonition would you avert course? >> the thing as i've also been through>> a lot. not only the two kidnappings,
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but i've been thrown out of a car in a highway in pakistan and various ambushes. so obviously i have a lot of residual trauma. i'm functioning, but i know that i have some form of ptsd somewhere in my brain because if i didn't there would really be something wrong. you know, i have to when i'm going somewhere like yemen, before yemen, bobby and i were talking to the security advisers and there was an 11 hour drive we had to take them twice in my life i've taken one of those roads and run directly into a chat point with guns shooting in the air and i don't know if i'll live.en of course knowing we had to take that drive, i was really scared and i told bobby camino, can't we just put shoe in in the cobb come address you as a one man. what i had to work throughyo th.
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we sort of ask a lot of questions and not only my colleagues, the security advisers and figure out if that fear is grounded in something or if it is just trauma. so then i figured out whether i keep going or whether i diverge. in this case i felt like a hobby and i talked right up until the moment we were takinghi the dri. we were sort of reevaluating security as we were going and i think we were on the same page and it felt okay. if that changes and i don't feel like it's okay i wouldn't go. maybe one more. two more. how many are you? three. >> i love your work. as someone who wants to be a photojournalist i'm really curious about your professional journey, but right now i want to ask what has your emotional journey been through all of
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this? >> you really want to ask? >> have there been any significant moments in your work where you felt change? >> every assignment changes made. every assignment i do affects me in some way and so i don't think there's one thing that has changed me more than others. they've affected me in different ways. two months on the side of the knot with 173rd airborne i had a tough time reentering after that. it was that more lester maddox than watching a woman bleed to death on camera. these are all things that affec me. >> i was wondering if you could talk briefly on the relationship between your photos in the written word in terms of telling these stories. do you view them as complements or substitutes? >> ups early complements.
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bobby and i have worked together for many years and i think the greatest relationship is when you share information and try to create a comprehensive story and i hope my pictures complement his words and vice versa and that's why we like to work so closely. and you know, i've worked for most of my career has been the same three publications and i do that because i respect the correspondence and the writers. >> i will add that i've done times or he didn't photographer with me and it's so much better to have someone speaking in a she cc -- things that i don't need. that's something i can pick up on. i tell herer things. thank you.
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>> i'm just wondering, you said europe 26, 27 before you head out to afghanistan. i'm wondering where you in your 20s -- when you're in your 20s you hear a lot of gophers still in a w lot of -- journalim is dying. i'm wondering if you heard, that when you were younger and how you stuck to what you wanted to do? >> i was raised by hairdressers and my parents heard it said do whatever you want, follow your dreams. follow your passion and you'll be successful. i never had any of that sort of, you know, that wait to be something that you should be. i was driven and very likely my family supported that. i never thought twice about anything. i just went for it.
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>> couldn't be a more perfect way, can we get one more roundd of applause? [applause] if you've not purchased a book already and like to come ahead on up to the register. otherwise the signing line will start rightfo here. >> this is august 9th, 1974 and your mother said in her memoir that this was the saddest day of her life. why do you think that is? >> i remember her saying that. the two reasons, and at one she was very sad as many of us were
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to see a sitting president, mr. nixon have to resign. this was a dark day for our nation for many reasons and that it never happened before. i think that the other level, my mother, you know, she was looking forward to dad retiring. you know, she could kind of see, a choir or you know, a more intimate life and she saw this was like ramping it. she came to realize as first lady she was only 100 yards from his office. so it was really wonderful to
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have him so close by and so she actually saw him and they spent more time together in the white house than when he was moving around traveling. >> yeah, so that they had to of been overwhelming. after the swearing-in -- you go to the oval office and not the family portrait taken and then, your dad goes to work, first day of work in the family goes back to their house in alexandria because the knicks fans have left so suddenly. there is no inauguration. no and not euro ball. the white house wasn't ready for you to move into. so the family goes back to the house while president ford has a day in office. you're having a party with the neighbors spirit not every day your dad becomes president.
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your dad comes in later that evening and that he was pulling a lasagna out of the oven. dear member what she said? >> she said you know, you're president of the united states and i'm working in the kitchen. something is wrong with this picture. there's something wrong here. i'm still cooking. i don't think she really cooked much after that. [inaudible conversations]


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