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(generated from captions) join them. I've decided if you can't beat them, into one of these anyway. Seeing as my life seems to be turning So... I'm not saying forever... but... ..and I'm not saying happy ever after ..a day at a time... ..and a little bit of sex. Mm-mm. A lot of sex. 23. to teach you everything I know. Well, then, I can see I'm gonna have on Dear Dr Steele, So Janet, now we've agreed your other employment can I take it you're happy to leave and write for us full-time? see. Oh, um, I have to look after my mum, quite sufficient. I believe you'll find your royalties Here is your advance cheque just a small fraction which represents of what you'll earn from this title. Oh, my goodness. Oh... Oh. an idea for your next book? May I ask if you've settled upon You see, the idea for my first Well, um, actually, no. came from the hero and... Ah. And... on who to base your hero? Is there no other man you can find Well, actually, there might be. Oh and I'd like to change my name. I shall call myself Raquel. To Raquel Pretty. duty calls. Now, if you'll excuse me, Raquel, as long as you please But you must stay the fruits of your labour. and drink in she may request. Please see the lady has anything Oh, yes, um... Actually, sorry. Certainly. Could you... Do you have a pen? brusquely. 'The man clicked his fingers he barked. "More champagne, waitress," He really was... Rowena pursed her lips in annoyance. ..unbearably arrogant...' Jacqui Mapoon Closed Captions by CSI -

THEME MUSIC 'Ahead on Compass -' CHOIR SINGS OPERATICALLY but in a good way. I'm kind of now feeling anxious, as we continue our summer series, Thank you for joining me of Compass programs showcasing the best from a year that's almost over. And you're in for a treat right now. A marvellous behind the scenes look

one of the premier events at the making of of the World Youth Day program, when it rolled into Sydney - the Stations of the Cross. With a raft of small cameras, tracked the preparations the Compass team of this extraordinary pageant and performance Christ's last hours. that brings to life

# Hallelujah. # Not long to go now. Hi Mum, hi, Dad. 'It's Friday, July the 18th, 2008, and World Youth Day is in full swing.

In the past week, Catholic pilgrims from 170 nations more than 200,000 young to celebrate their faith.' have descended on Sydney at a Catholic school, Well, we're educated and experience the spiritualness. and we wanted to come blood, sweat and tears 'Months of rehearsal, are about to be showcased of the Stations of the Cross in a one off performance to 500 million people worldwide.' that will be broadcast Blessings, everyone. cos that's pagan. I'm not going to say good luck Isn't it "break a leg"? Luck's got nothing to do with it. Sydney's streets today 'Thousands of pilgrims will line

in six separate locations. to see a performance re-enactthe last sufferings of Christ It will take three hours to of His crucifixion.' on His journey to the place came into being The Stations of the Cross of the Franciscans. through the activities Because not many people, obviously, their way to the Holy Land, would be able to make

walked and to retrace his steps. to walk in the places where Jesus

suffering and the death of Christ I suppose the idea is that the and comforting always has something profound

and reassuring to teach all of us. is Father Franco Cavarra, 'Heading up this ambitious production the priesthood ten years ago.' a one-time opera director who joined are very high, Clearly, the responsibilities one is almost overwhelmed, and therefore, can we bring it off, can we possibly do it, can we do justice to it? 'In a few short hours,

in bringing his vision he'll know if he's succeeded of this religious epic to the world. out to parishes around the city - Six months earlier, word went Father Franco was looking for a cast. First up, who'll play Mary?'

to be Mary, the Mother of Jesus. Say you were the one selected What would you bring to that? because I realise that it's my fault The emotion comes through that that happened. any acting experience, I'd just look at my mother. I wouldn't need anything at all, I think you keep going because you love Him. lips is who will be Jesus?' 'But the question on everybody's we have Chris Colleti, On my right here and this is Alfio Stuto Junior, and Jesse Mulbray. and on my left we have Luke Shaw as widely as possible. I tried to cast the net to send His Son to us today, In other words, if God was choosing

in Sydney in the year 2008, God go for, I suppose. what sort of look would who plays Christ We're asking the person profound of human mysteries. to enter into this most mystery of human suffering, In other words, this profound called by God, chosen by God human betrayal, somehow being of the human condition, to make sense and to show us our way back home. 'A week later, the decision is made.' because this is a way I'm just overwhelmed, in a special way. for us all to serve God for giving us We thank you God, Our Father, this extraordinary privilege... are unpaid volunteers, 'All the performers because of their faith.' drawn to the project ALL: Amen. one of the women of Jerusalem My name's Mariette, I'm playing that's at Calvary.

I'm playing the bad thief.

I'm the good thief. of Our Lady, Mary. I'll be playing the part I'm Mary Magdalene. so it'll be right on the night. Well, I'm a bit of a theatre person, rehearsals beginning in earnest. 'With casting complete, a few tricks of the acting trade, The performers still need to learn even though they won't be required to speak.' When he does the kiss... Yeah? ..should he be trying to look into his eyes when he plants the big one? What I said to Alfio is, in effect, at this point,

Alfio is hypnotised, as if he's in another dimension. Kiss. 'Father Franco discovers that working with amateurs, even highly committed ones, is not what he's used to.' With people who don't have a background in the theatre or the performing arts, I've had to find a language that works.

One of the difficulties, I have to say, is that being a director and a priest, you would have thought it might actually have helped me, in effect, it hasn't,

because I've been very, very conscious of, by and large, staying in the role of being the priest who happened to also direct at the same time. Eight, nine, ten. Rip. Point.

One, two. No. You're on three. And, obviously, from time to time, it would have been extremely effective to have an outburst, a temperamental outburst from the director which would have in effect solved all the problems. But something inside of my head said, "No, but you can't do that." So I've had to go back into the pastoral mode and think, "OK, you've got some parishioners here who are struggling a little bit, now how can we help them to find what it is that we need to come up with?" 'The cast may be amateur, but behind the scenes are some highly experienced professionals.' DRILL WHIRRS 'Production designer Michael Scott-Mitchell is fine tuning his design for the cross.' The slant that goes down - There isn't actually a flat part here and then it's - The exercise today is entirely about getting Alfio into a good position on the cross. And determining really what the best arrangement is, in terms of his feet and his arms. There are different versions through, kind of historically, in terms of how Christ is arranged relative to the Cross. And we're kind of playing through those different variants today. I won't need anything here to hold my feet in place. Cos that's gonna take a lot of the weight of my legs, isn't it? The harness.

He'll be there for 30, 40 minutes. And the Good Thief, Bad Thief are there prior to his arrival, so they're actually in that position for an hour. So we need to ensure that these guys are comfortable. Apart from the fact that it's winter and evening, and you know, they're outside.

So we just need to make sure that they physically can maintain that position. But, look, see how you are in half an hour.

I'm gonna go and have a cup of coffee. Anybody?

Alfio actually now feels after having been up there for about 30 to 40 minutes, we were worried that perhaps, you know, circulation might begin to be difficult, but in effect it hasn't had any unpleasant effects on him. So that's very, very reassuring for us. I have to admit, I'm kind of now feeling anxious, but in a good way

cos I can now see the details behind the whole process. So, no, I'm excited.

'The costumes are nearly ready to go. But costume designer Julie Lynch is not entirely happy.' So what will happen with the straps? Er, tighten them up. So that's more bulk. 'The safety harness for the crucifixion scene is proving to be too bulky.' But the only concern I have is... ..how does Jesus walk with that not hurting him? 'While they ponder a compromise, Jesus is in the make-up chair.' All this make-up needs to be applied before the show. Which means that it needs to be fairly permanent, and also at the same time, it needs to withstand a lot of natural forces of fabrics rubbing on it, sweat, movement, so it kind of needs to be just very resilient. So we're just gonna test a few different varieties of make-up techniques, and see which one achieves that result in the end. You could get that in the darker colour? I could get that to look very similar to that. Cos what's putting me off with these is the colour. ALL: Yeah. Whereas that cut is really quite realistic, isn't it? Yeah. I don't think I'll sweat on the day, anyway. It'll be freezing cold. 'It may be winter, but in the church hall, there's a lot of emotional heat. The death of Jesus provokes a spontaneous outpouring of emotion by the female leads. It catches Father Franco by surprise.' (WOMEN CRY AND SOB) FATHER FRANCO: In the profession, I suppose, we talked about peaking and all the rest of it. I'm very conscious of the fact that we have to save something for the day. With amateurs, if you like, the danger of course is to do it all and then there's not gonna be anything left, if you like, cos it's gone. Aaah! (GROANS) (CRIES) FATHER FRANCO: I think we've probably done as much as we can do in a church hall. Now in the next few weeks, we need to actually do it

on location itself. We need to be stepping in the right places, and actually to walk the distances.

Because the distances are going to be much greater than what we've had in the hall. VIOLIN MUSIC 'After months of church hall rehearsals, the cast is given its first guided tour of performance locations around the city. They include some of the city's most popular spots, but they'll have to wait their turn at the first station - the steps of St Mary's cathedral.' One, two, three! (ALL CHEER) 'Despite having no sets or props, Father Franco tries to convey his vision of The Last Supper.' Once they're in place, then the screens will open. Jesus comes on. We get to that moment when - You want to do the actually lift? Yeah, go through it. OK. Lifting up the bread. VIOLIN MUSIC 'Next stop - the Domain. Once a soapbox corner for political and religious orators, now the site of opera performances. And soon the place where Judas will betray Jesus.

This first excursion to the locations raises some unforeseen problems.' OK. Now, let me just think.

Cos this is all exactly the opposite as to how we've been doing it. (SIGHS)

There's no way that we can have them coming down there? Yeah. Oh, you mean the guards? No, I mean them. No. Because of the front of the tower and the camera shot will get the tower.

'It's at Sydney's world famous Opera House that Jesus will learn his fate. Here, Pontius Pilate will sentence him to death.' Where does the walk onto the parapet begin? Would it begin about here? Yeah, it'll be about - About here? About here. OK. And we're heading to the corner there. Is this where I do that? No, this is down here. You're on the edge of that big dais and then we do those big four crescendi for you to make a big move on. So it goes - It goes up to there. It's a big, big dish. MURMUR OF VOICES 'And finally, the last station - Barrangaroo. The dockland site once dubbed the Hungry Mile by waterside workers will be a spectacular setting for the dramatic crucifixion.' Hello. MURMUR OF VOICES This is my first time up on a cross. (CHUCKLES) This is my third crucifixion, but it's my first outdoor. So... (LAUGHS) So the back's not really hurting too much. 'With actors and props on set together for the first time, designer Michael Scott-Mitchell and the rigger test a new harness on the Good Thief. This one's guaranteed not to bulge beneath skimpy loin clothes.'

This is actually quite comfortable. When I pull myself into it, it's a bit restricting. I think it'll be less like that, I'm just wearing jeans, that's the problem. Yeah, they hurt a bit, but this is better for the...effect, I guess, you know. We've got some device that you just put through already. Yeah. And then it's gonna go right down, is it? HAPPY CLASSICAL GUITAR MUSIC I feel safe with the harness. It's good. Without it, I'm gone. 'Theatrical problems are being solved, but mid-winter temperatures are still worrying the team. Budget realities have forced Michael to scrap the under floor heating.' 'Yes, hypothermia would be one of the concerns.

Visually we don't want them to look like they're... ..icicles on a cross, you know? We're on the harbour in a very exposed position. Anyway, let's hope that we get conditions that are favourable.' You know deep vein thrombosis exercises? MAN: No. Oh, yeah, yeah... Little bit of flapping of the arms, little bit of this...

I did research into eucalyptus oil, goanna oil, tiger balm. Right. So how were you testing it? Well, I put it on the whole day. So I had it on myself for the whole day. Did you attract any koalas? (ALL LAUGH) Now, what do you reckon, Father? To one side or straight over the guts of it? So we're going to let you go forward. Watch his jacket, eh? 'It's slow going, as Father Franco and his team painstakingly work their way through the details of the crucifixion.' That's better, Father, and then it naturally falls. That's a lot better and the head over... 'It'll be another week before they have a chance to rehearse it again.' HAPPY CLASSICAL GUITAR MUSIC 'Some locations are only available when the city sleeps. So there can be just one full dress rehearsal at midnight just days before the show. Down at the Opera House, Pontius Pilate is trying out his elevated podium for the very first time. But there's a problem...' Don doesn't feel comfortable on that small space

for the amount of time that he needs to be up there. It's ridiculous. It's much too... MAN: It's a statement. I know, but then there's no space to do anything. It's ridiculous. Can I suggest that when you're coming on do all that business with the reading of the scroll from back there. 'Father Franco reworks the sequence on the spot and hopes it'll all work out on the night. But in the final run-through, Pontius Pilate still seems a bit wobbly. DRAMATIC CLASSICAL MUSIC 'Meanwhile, the temperature has dropped to near freezing and Pontius Pilate's attendants are trembling too.' It's so cold, man. Whoa. I should have worn a singlet, some sort of undergarment. They picked the coldest night of winter, didn't they? (SHIVERS) 'But there's no time to waste. It's on to the last location - the scene of the crucifixion down by the water at Barangaroo.' Yeah, the cold was a huge, huge challenge to endure. But we got through it, so it's all good. 'It's punishingly cold and there's already concern about the thieves, though they've only been on their crosses for ten minutes.' Are you cold? Yeah, I'm just praying to God, that's it. Did you bring something like a top? It's all right. I want to do it like this. All right. We'll keep an eye on you. I need someone to tell me where the clothes are for the thieves. They're in a car somewhere. We need them onstage. Bit better. I've got the warm pack on the back now. You sort of looked like you were hyperventilating before. It was making me a bit nervous. I was expecting a few more disasters, seeing that a lot of these scenes

we haven't had as much time as we would have liked. And you've seen the complexity of the locations so I'm... In many ways I think I'm happy with what we've been able to achieve. CHEERY CLASSICAL MUSIC 'With two days to go, Sydney is awash with pilgrims. The Barangaroo site has been transformed to accommodate an audience of thousands. We just need to double-check the tilt with the cross down. 'But even at this late stage, there are still small details and at least one big problem to be solved.' All I'm saying is another solution had not been found.

The other thing that we were looking at is heating tape. It's just being able to find one that gets to a temperature to heat him without scalding him. But it would mean running a lead down.

Like a rear demister. (LAUGHS) Yeah, essentially. By and large, this is pretty close to the end... ..which is a frightening prospect, really. (LAUGHS) Because there's a lot of things I feel are not really resolved and I wouldn't say that we're running smoothly yet. (CHOIR SINGS) # Gloria. # CHURCH BELLS TOLL # Gloria. # 'Ready or not, it's Friday and it's show time.' APPLAUSE Mighty God, our Father, we thank you for the extraordinary journey that we've been traveling with you and for you

for the past six months. 'Everyone's standing by at St Mary's Cathedral for the first station. Cue. And the Last Supper begins. (CHOIR SINGS) # Domine deus # Agnus dei # Filius Patris # Domine deus... # 'Icy cold winds sweep the harbour foreshore, making conditions far from ideal for Pontius Pilate. But the show does go on.' The wind was terrifying. I had to move or it was going to blow me off. CHOIR SINGS HYMN 'While Jesus endures the wrath of Rome, stumbling towards his inevitable crucifixion at Barangaroo huge crowds await him.' You will need your accreditation. If you just keep it in your hand. I need it? Yeah, they just said now. Dressed like this? Yeah, I know. 'Tight security means no-one can move without their official accreditation. Especially not the bad thief.' I look good, eh? (GIRLS LAUGH) CHOIR SINGS HYMN ON TV

'The women of Jerusalem wait backstage at the last location watching the stations of the cross unfold on the big screens. After months of rehearsal tears, will there by any emotion left for their final performance?' CHOIR SINGS HYMN 'In the biting cold, the time has finally come for the thieves to take centre stage and wait for Jesus.'

'There's something about the story too, particularly if a person is a person of faith that it does tap into all kinds of profound things.

Not only do we interpret this text, the text also interprets us, who we are, so in effect it holds up a mirror to us.

It isn't, by and large, just a theatrical production. It actually is a prayer. The disciplines are theatrical, sure. Acting, mime, music, lighting, text, costume, all those sorts of things.

But then there is the other dimension, which is the spiritual dimension. That's where I have to hand it all over and trust that in effect we do what we can and God does the rest.' CHOIR SINGS HYMN Captions by CSI

Oh my God, this is fantastic. It's great. Skiing is much harder. I've tried it and I fell. Look at this, here I can go very fast. In one person like Dean there can be so much energy, and he can do so many things, he can create a revolution. Now, is the wheelchair is based on the same principle? Yes. Isabella, she's had an interesting background growing up in Europe just after the war. She speaks four languages fluently, she obviously has got a pretty broad-based background that I wish I had. How does it move? It's magic. (LAUGHS) No, how does it do it? Tell me. THEME MUSIC Right now I'm gonna get in my aeroplane, fly down to pick up Isabella Rossellini, probably take me five or ten minutes to get a clearance outta here. 6 Delta Q, we'll depart runway heading to 2,000. Forward Jo-Jo, forward. Good dog. I've always been interested in animals, and that is part of the reason why I train Guide Dogs.

We don't play with ball, we don't play with Frisbee, anything that is movement and chasing triggers in them

this instinct of hunting, so we don't do it. He has to be very disciplined, and he has to guide me.

Boston Premier one-six Delta Q, checking in at 17-5. My father is an artist, my father probably is very much more familiar with Isabella, her father, her mother, than I am, but I am hoping by the end of tomorrow I will have at least a little bit caught up. We all are who we are. I am the daughter of Ingrid Bergman and Roberto Rossellini, I am also Isabella Rossellini who's done her own career, and has learned from them, and hopefully carry on some of their ideas. I came to New York when my mum was on Broadway. I was 18, 19, to learn English, and I ended up liking the city, so I stayed, I started to work.

The more I learned the language, the more opportunity opened and I had a boyfriend, then I had a husband, then I had kids, and then at the end of ten years I said, "OK, let's face it, I'm a New York resident." You'll live where you have to live the life you've chosen. If you're in the arts, you have to be with New York, Los Angeles, Paris, Rome. With Dean, he chose to live in Manchester, because he was close to Boston and New York, and most of his medical research and collaborators are there, and also, he needs a lot of space, and probably less distraction, cos he has to think all the time. DEKA is a place that tries to apply technology to really big problems, in unique ways, that if we're successful, will do a bunch of things. It will give nice careers to a lot of technical people and help me attract even more of them, so I can do the next even bigger and more difficult challenge, but it will deliver to the world products that improve people's lives. The thing that amazed me about Dean is not only his job as a creator, as an inventor, to forward science, but I was surprised about the amount of work that he does in the non-profit. Besides being an inventor, he has the charisma of a leader, he's inspiring. I've never met anybody like him, so I don't know, it's hard to describe him. There are very few things I could tell you with great certainty, but I can tell you with great certainty, I am not a genius. I wish I could deliver to the world the kinds of stuff that Galileo and Archimedes and Einstein have delivered to the world. I'll never do that. But I might make gizmos that make people's lives better. With a great sense of admiration for somebody who has done so much, or at least attempts to do so much, to change the big problems of the world. I feel, sometimes, a frustration to say, "How can I help?" I'm delighted to be able to help blind people or handicapped have a dog, but my scope is so much smaller than his. That's why I was curious about Dean, and I wondered, "What makes this difference?

Why can he be so big?" Unassuming, you know, but big. Hi. How are you? I'm fine, and you? Yeah, we had a good meeting on the island, by the way. Oh yeah, you did? Something I wanted to tell you. Oh yeah, I am very interested. I did read the book last night,

this thing looks easy to fly so there's nothing to worry about. You were reading the instruction book last night? Yeah, last night. Good. Perfect. (LAUGHS) (GROUND CONTROL SPEAKS INDISTINCTLY) # She wore blue velvet # Bluer than velvet was the night # Softer than satin was the light from the stars... # This is the only way to travel. Well, no. There are two other really good ways to travel. Helicopters and Segways. (LAUGHS) I'm not sure I ever decided that I had a particular gift to go out and try to create inventions. I do remember thinking at a very early age,

"I don't want a job, and I don't want to work for anybody, and I don't like being judged by other people." As a young kid in school, I felt enormous pressure, and every time I'd get myself frustrated

that I wasn't doing well in school, or I didn't like trying to guess what they'd expect out of me tomorrow, and I got to a point where I didn't care what they expected out of me because I didn't respect their opinion. I didn't see them doing anything so wonderful, so why do I care whether they think I'm an A, B or a C? I don't really care what their opinion is.

If it was Albert Einstein critiquing my competence in Physics, I'd probably care. Well, I just kept remembering that my father said, "Make sure you do something that's important to you as your career, don't try to reserve that for your hobbies." And I started developing the skill sets to create things. That's my house right there with the wind turbine.

On top of that hill over there. Wow. It's huge! Tail wind at 900 feet. COMPUTER: 500. I just close my eyes and wait for the bump.

(LAUGHS) So how long have you lived here now? Oh...20 years. So you had two homes, you built a first home, your second house that you've built. and now we're going to What happened was I found a hill, so I took the top of the hill and put one house on top of one lot, on top of 32 acres. Fantastic. That's my wind turbine, and I can make more than 50,000 watts of electricity. Really? Wow! (LAUGHS) So let me turn on some light. So you built it to accommodate... tell me what this is? Yes. I built the house to accommodate this engine. This engine was built in the 1850s and it ran a steam-powered tugboat. Because I say, "What a big house." Now I see why. Is this your father's, too? Every piece of artwork hanging in this house, my father did. The oil paintings, the watercolours, the black and white, the old comic book art that you'll see everywhere, he did many of those before I was born. So many things. What is this? Watch what happens. Uh-huh? I turn the handle, and things light up, so I squeeze the box, and out pops Albert Einstein. This is your father's painting of Einstein? That's my father's Einstein. Archimedes. Leonardo. Galileo. Isaac Newton. This is an exact, one-third-scale model of the Wright flyer, and there by the way, the iBot. When we first made it, President Clinton gave us the National Medal of Technology. Oh, you have a swimming pool too.

If you open it all the way out, we got a waterfall coming down.

We're coming to our machine shop. Yeah. Some of it is like carpentry. Yeah, except instead of cutting wood, we cut steel. The computer-controlled machines can cut things to thousands of an inch with great precision. But you do it? Yes. This weekend we made this part. What you...what can't you do? Um...art.

People ask me...people ask me why I do what I do.

Because I can't do what my father does. Actually, my father's an incredibly gifted artist. I have no artistic talent. My father is not at all into details, he's not at all into business, he's not at all into technology. He is an incredibly gifted, wonderfully jovial, easygoing artist. We couldn't be more different. He has a talent, and I just acquired a skill, but... Whatever, what modesty. Well, it's true. Art, I think, expresses your emotions, and though he kept on saying, "I'm not an artist," his house was very artistic, because you could tell his love for technology and the machine,

and how clever it is, and how this machine led many centuries later to that machine,

and how he lives with all this history, which I don't know, but I can intuitively feel by looking at his house, that's what art does. And I can sense his emotion. I think my brain is trained that way.

Maybe if I wasn't born in cinema, I would have been an artist, and I would have been a writer or a musician. But...this is the culture I know. Storytelling is knowledge, and acting allows you to create a portrait of somebody. He's almost like a painter. I like to do portraits, so I don't mind doing small roles. Modelling and acting have so many things in common, because at the end, you photograph emotion, you don't photograph just a beautiful nose. I was so tremendously successful in modelling, representing a symbol of women that became quite interesting

to study it myself and say, "What is it that they see in me?" I had to be appealing to women, because I'm selling women products. In fact, if you do a marketing research on me, you would see an enormous percentage of women recognising me, and very few men. But the industry of cosmetic and fashion represents a woman that I think doesn't really correspond totally to a woman's dream, but still represented by a man's dream of a woman. When a woman dresses up to be flirtatious, it would be pleasing the men.

Consequently, has given women a feeling that they are unacceptable after a certain age. Beauty expresses who you are, and elegance, to me, is an expression of an idea.

I've chosen for myself a simplicity, and solid colour would have to come from practicality and the fact that I travelled a lot. I always say maybe in another life I was a nun. (LAUGHS) I've always have things that are completely covered, and monochromatic. Dean is elegant. He has chosen a uniform that tells, "I don't care about clothes, I concentrate in everything else." Also he's very American, cos he's chosen the jeans. And I think he's very linked to the tradition of entrepreneur. Changing the world. Pioneering. That's very American. Oh, there they are. These are new products, they've not been released to the public yet. I had a driving license only two years ago and I still don't drive. So you have to tell me how to do it, because I've never driven one. This one is almost completely wearable. You just lean it in the direction you want to go, you'll see... Oh yeah, it follows my body. Exactly. Yeah, yeah, so it... And slow down, I just lean slightly back? Wow. Oh yes, it almost... it moves with me, yeah. Look at this. What is Dean doing? Somersaults? How does it move? It has a set of gyroscopes that can sense the tilt, sort of the way you do as a person. When you want to move forward, you kind of pick up your feet and you fall. Well, the gyros sense that this is falling, so they send the wheels out in front of you and off you go. It feels like an extension of your... it exaggerates your body. That's the magic. And you learn very fast. I would like one. It's the closest thing to walking, which... (LAUGHS) Except, it's the closest thing to walking but you can't walk at the speed of an average taxi cab. It would solve the problem of traffic and pollution. How did you come about thinking about that? I was working on the iBot to help the disabled community, and once we made that work, we realized we could do this as well. But isn't this an incredible way to get around?

It really is. They're really wonderful. Here in this room, here is where you think alone? Because you have another... Yes this is my private shop. Yeah, yeah. And compared to the guys that run my real shop, I'm probably a butcher. I'm terrible compared to real craftsmen. But you still need a place where you're alone. But I need a place to do this, and I used to, when I didn't have all those people, I used to do everything myself, when I was a kid, these were the machines I used to build our first products. Now I have... What was your first product? Oh... I was, in the early days, building medical equipment for my brother, when he was in medical school and I was in high school. In the Museum of Natural History, in the Haydn Planetarium, I built the electronics to control some of their big shows when I was in high school, in my parents' basement. How did you get the job from high school?

That's a funny story. In fact, I'll get you some wine, and over a glass of wine, I'll tell you that story. OK, I'll take it. I had gotten to the age of high school where kids get summer jobs. And the summer job was redoing the electronics that runs all the displays and shows

in the Museum of Natural History in New York. Wiring all those big old rheostat switches

that you see in the old movies, and I go there and I spend a week just wiring things, it was manual labour, and finally after a week, I was so fed up that I quit my job, and I went home and I told my parents that I was gonna design an electronic box this big, that could replace that whole room full of stuff. To make a long story short, I spent the entire summer, I spent a few hundred dollars, which back then was a lot of money, it was all the money I had, and at the end of the summer, I had this box. And I drive back into the city, and sure enough, they were all still there, doing all this wiring, and I took the machine in, and I demonstrated it.

The then director of the whole museum was brought down to see this. And he sees this little box, and he sees all this other stuff is disconnected, and he says, "That's great! Who did that?" And I said, "Well, my company did that." I didn't want to tell him it was me. "My company"?

My company. You were what, how old were you, 17?

17, maybe. But I knew that I couldn't say that, and he said, "Well, how much is that box gonna cost?" And I swear to you, I hadn't thought about it, except in that year, I had just gotten a driver's licence, and a brand-new Mustang was $1,995. So I said "$2,000." (LAUGHS) Must be incredible to be a mama and have a child like this at home. (LAUGHS)

We had our...issues, but it was a lot of fun. In the end they always supported me. When we go into my office tomorrow, you'll see my mother's office, because from the time I was in high school she handled all my books, until last year, at 81, when she retired from DEKA. Do you have anybody else from the family working? Well, my father does all of the artwork for our projects, my older brother still gives us advice and guidance on all the stuff we build. In Italy, there is this big tradition of artisans,

and you all work in the family, so for me to work in the film was the natural way to grow up. And you, you grew up... ..you were a full-grown adult before you came to the US? Yes. I was 19. So all your first jobs were...

Yes, all my first jobs were on my dad's set. Because I was a girl, I was always doing the costume department. Then I didn't want to work with my family anymore.

Because?

Um...I don't know, for a series of things. Maybe just simply as wanting to feel independent. Like probably every young person, it was important for me to feel that I could make it on my own. When I started to work, I was very careful to really just be me. And I did, I mean, all modelling was anonymous. In acting I always knew that I couldn't have a commercial, regular career. I started acting in my 30s, I wasn't blonde, I have an accent, so I knew that it had be something different, and also because I come from another culture, it was easy for me to be more in the avant-garde, and I think it's going even more in that direction, and less in the direction of popular success. If my dad were an animal, he would have been a seahorse. It's the male who gets pregnant.

It's the male who takes care of the babies. My father was a genius...I think. Now that my parents have been dead for so many years, it's very important that people remember them, so I often find myself talking about them and connecting my work or my choices to them. Her big career happened in Hollywood. She came to be the sort of young Greta Garbo. David O Selznick, the great producer, saw that there was an actress, very young, 22 years old, that was already having quite a career and offered her a job. My mum came to Hollywood and made, in ten years, made her legendary career. Did your father try to dissuade you? Yes. He was not against me being in film, but he didn't want me to be in acting because he just... ..he also saw the whole artifice.

My father was the first one that brought realism to films. In fact his style was called neorealism, and it really was dictated by poverty and despair. He grew up between two wars, and by the time he was an adult, it was the end of Second World War, and he would borrow the film that the American army would discard, and with a little bit of film here and a little bit of film there, reconstructed what he saw, so it was not a documentary, he re-enacted what he saw - the tragedy of the people, how the civilian lived the war, depleted of politics and beliefs, how difficult it was - and his film were hugely impactful, Rome, Open City and Paisa. (SCREAMS) (SCREAMS) GUNFIRE (SCREAMS) Mama! My mum saw his film, wrote him a letter to work together, because she saw this fantastically talented Italian, making this film in this country destroyed by war. You have to imagine this guy that must have been like a director now in Iraq that receives this phone call

from somebody who'd be like Julia Roberts or Nicole Kidman, saying, "I want to work with you." He was so moved by that, and he tried to understand why this woman with everything - everything - would want to call and work with him. And so he was completely delighted. They met, they decided to do a film together, but also fell in love. And my mum was married, and it was an enormous scandal, and my mum became pregnant while they were doing the film. She was asked to leave the United States, she was persona non grata and unable to come back for about ten years. The United States Senate took a stand against her... The Senate? Yes. The Senate. You'd think they'd have bigger issues to deal with.

I never understood this persistent hatred for my father.

The press, once they unleash... They completely tainted his name. 25 years later, people thought of Rossellini still as this Latin lover playboy. My mum always said, you know, "I...I didn't choose acting, acting chose me, I need to do it." For her, it was that she was hugely shy, as a lot of actors are. To play another person, it's great relief, and it gives you an insight, and then all of a sudden you become the centre of attention. Imagine for a shy person what it does! (LAUGHS) I don't have that problem. You don't have that problem. A shy actor and all of a sudden, it becomes great...agony. But still, you are the top guy, and people want to know you and talk to you and so you have to be accessible, or not, and all that is also an art. I could use some of your skills for that. What is the...the difficulty? I think sometimes the press, or the media, expect when you have a choice between what's politically correct, and what's correct, you go with what's politically correct, and I can't do it. No. I can't do it. When I said, "People should get water that's pure and healthy, everywhere in the world. And they should get it now, and they shouldn't have to wait 20 years to build infrastructure." People will depend on historical precedent to say you're wrong, instead of depending on current technology. The technology development is easy. Changing people's attitudes is really hard.

That's the problem. Why don't we take a walk? OK. The first night, after meeting Dean, I woke up with this sense of frustration and saying,

"My God, it must be so hard to KNOW that you can resolve many problems of the world, and yet cultural or financial or political situation will prevent." And this is your helicopter - oh, you've got two. One would be so lonely. (LAUGHS) So you land right in front there and you come right here? Yes, I land in front and it just drives itself in, yeah. That's the motorised car, it just... We'll do it tomorrow, we'll drive it out, and we will take the helicopter to my office. This building right here, this mill, and every mill going down

to the other end of the mill yard is ours. About half of them I have my own projects, half of them we rent to other companies. The thing that amazed me about Dean is the ability that he has as a real estate entrepreneur to take downtown Manchester, and not level all the old buildings and build new ones, cos it takes an extra effort and an extra talent to see an old building and trying to adapt it to his needs, which are so modern. What a wonderful feeling.

Isn't this unbelievable? (LAUGHS) Unbelievable. DEKA was created to focus on really, really novel technical solutions to really tough problems, and then we'll find a partner to put them out. Most of what we do are medical products - dialysis equipment,

diabetes pumps, stents. So this is a machine shop that's substantially larger than the one you saw in my house. Than yours. But the separate thing that DEKA does is work on certain projects that may be an answer to a question nobody's had either the courage or vision to ask. How are we gonna deal with the fact that maybe this year, six million people are gonna die, between now and next year, when we're sitting here, because they have no water? How are we gonna deal with the fact that 20% of the human beings alive today have never used electricity? This is pretty much identical to the two machines

that went to Bangladesh that powered two villages for nearly half a year. That little thing instead of... Instead of Con Edison plant. Con Edison building. And it fuel with anything you want? These ran on cow dung. They did nothing more than have a pit of about four feet by four feet by four feet next to the engine, they cover it with a slab, they bring a plastic pipe out of it, and just the natural degrading of the dung created enough of a pressure of methane gas coming up that pipe that for 24 weeks, it kept these engines running. Unbelievable. I've now realised that there are things that are potentially even more difficult than just figuring out how to create enough electricity for a little village with a box that ought to go many, many years and use only local fuels and not be harsh on the environment. There are things that are more difficult than the technology of either of those, because in both cases, even if you could do it, the unanswered question is, "Great! How are those people that have no water and no power, and therefore have no money, going to pay you and reward you for this?" It's fired itself up, you hear it running.

If every house in a village had a light that bright, compared to darkness... Not darkness... And so I'm working at developing solutions, and possibly meeting a different, quote, business model to get those solutions out. Now, we're gonna go down to the river, and we're gonna go collect... Fast. ..a couple of buckets of water. OK. In the case of the water system, whether we succeed or fail will not be based on technology. I'm happy to tell you that us technology guys are not the anchor that's slowing this down.

It's people's ability to change, to accept new technologies, to look for new answers.

You know, I couldn't sleep last night thinking about the fact that you have the technology to solve so many problems, but you have to explain to me, who did you call to ask for help, and who has been helpful? We did set up a non-profit organisation that has some incredibly influential and prestigious people from the world of politics and business and media. With all of that input from all of these people, I'm hoping that a plan emerges that impacts millions, in fact, hundreds of millions, in fact, potentially, a billion people. This machine goes into the village. You put one hose in the stuff that you don't want to drink, and out comes the stuff you do want to drink. Every village that has 100 people or less,

a few people can bring this into the village, place it down, and an entrepreneur or a micro-finance person can maintain it and sell the water at a very reasonable price in a pure state. We don't need sophisticated hospitals, we don't need all the exotic medicines and technologies. The first thing we need to do to empty 50% of the beds full of sick people from chronic disease right now is just give them clean water.

What's inside? How does... I know it's complicated... We figured out a way to combine a bunch of technologies in heat exchangers, and compressors, so that the actual input power is about 500 watts. It's one-third of a handheld hairdryer. The goal was build enough technology into a device and make it simple and rugged, and then put it in this kind of all-weather case so we can put them all over the world. You'll notice it tastes dry. Incredible. It's literally distilled water. We're hoping that if you get enough stakeholders,

all standing around the same box, all asking the same question, "Why can't these things be placed quickly?" We need people that have the courage, the vision, the wisdom, to just try it. The alternative to trying is that another five million people are going to die this year without water, most of them kids. I keep coming back to saying the technology is the easy part. Understanding what drives people, individuals, societies. What makes cultures clash. All of those questions are way, way harder to answer than how to solve any particular technical problem to enable a social solution. For me, for an artist, I look at emotions, and some of them are inexplicable. They are very mysterious, but you want to still analyse them, and that's why I think Blue Velvet, to me, is a great film, because it goes into very inexplicable, twisted behaviour

that is deeply frightening. David Lynch, he intended to be deeply frightening for the audience. Growing up in Italy, it was a time that we had a lot of kidnappings. In the late '70s we had a very strong wave of terrorism, and I had lots of friends whose father or siblings were kidnapped, so in the context of all that, when I read Blue Velvet, to me, it was a portrait of abused and victimised women. Her character would be victimised by sex

because she was ritually raped, but still she used to be seductive to appease people. (SIGHS) Hello, baby. Shut up! She was being like a doll, you know, she wears a little wig,

and she has lips, red lips and blue eye shadow, like a little doll, she's gonna be perfect, and yet she's completely crazy and disturbed. There is the last difficult scene in Blue Velvet, where Dorothy Vallance appears completely naked.

She has come from something very traumatic, and I remember this photo of Nick Ut in Vietnam, of this little girl walking in the streets, and the gesture is so completely helpless, and so I took that gesture, and I knew it was going to be full-frontal nudity that was going to be so shocking in films, and I didn't want to do that. I would have loved to come up with a different solution, but I couldn't come up with a more helpless gesture. Later on I realised that the photo was of a woman, of a little girl, that was completely burned with napalm bomb, and she was walking, and what is you see hanging from her is not the clothing, it is her skin. When people go to war... the most bizarre things happen. You wonder why we haven't yet figured out you can make it a win-win instead of a lose-lose. I identify with Dean and my dad this frustration that they both feel of knowing, they know, they know they're right, but nobody's following them yet. The reason I'm out collecting people, visionaries, people with courage or people with vision or people with resources to try this is because the alternative, to me, is, I'm just wasting my time building science fair projects. I don't know that I wake up in the morning, saying, "Well, what is the problem out there, see if I can do it." I feel generally overwhelmed, I just say, "If I can just raise my children to go to school, and if I can help my neighbourhood, if I can be kind," so after meeting Dean I felt very humbled, and I was really counting on my dog Jo-Jo... (LAUGHS) to redeem me. No Jo-Jo forward, forward. Good dog, good little dog. You know I always dreamt of being kind of like Jane Goodall or something like that when I was a little kid, but I was bad at school, I was bad in science, and so I remained in the family business, but the curiosity about animals remained. I started raising puppies for the blind, but the real interest to me is to see many, many, many dogs, so I can analyse the different personalities of dogs and understand more about how they think. If dogs is a machine that is pure instinct, why do they have personalities? Is there something... Does he have some of the emotion that are like ours?

And to me, that has always been, since I was a little girl, a fascination, what differentiates men from animal, because men want very much to be separated from animals and wants to be superior. I could never really express this in my work, so I thought when I made a little bit of money, that I can use part of that money in a non-profit world, and this is what Wildlife Conservation Network does. We decided to find some pioneers and help them with our money. We can supply them with computer, radio-caller, a lot of technological assistance. Iain Douglas-Hamilton has been studying elephants all over Africa,

and my daughter is there helping him, volunteering for him. What Ian is trying to do right now, and we are trying to help him finance that, is to create corridors among the national park, and elephants are so intelligent, they can learn this corridors,

so they don't have to leave their national park to get to the next national park where they know it's tranquil. Sometimes I hear people say, "I've gotten so much I want to give back," but really the engine is curiosity for me. It's the way I want to fulfil another curiosity that I have about life. Isabella seems very much to be somebody who thinks about the consequences of what she does, We talked about our first program for kids. First, it was an idea, 13, 14 years ago. Is that the first? Only 13 years?

Yeah. And she really recognises that there is this cultural issue. She brought up the fact that kids are subject to a media barrage of the Great American Lie about what's possible and what's important. My father said entertainment is the opium of people.

He really saw a deliberate way to distract people from taking responsibilities. The layperson that you talk to seems to think that you have to make a choice, that either the content will be high quality and valuable and educational, but it's going to be boring and only made for a few, or, it'll be fun and exciting, but then it's the kind of nonsense that the... Well, can't it be both? That's... Well that's to me, I'm thinking, I don't know why people assume it has to be one or the other. That's why when we started FIRST, I said, "We just have to reach a high bar. We're competing with the Superbowl." This year we're going back to the Georgia Dome and we'll have over 8,000 school teams.

We had a lot of teams from Brazil, we had teams coming from Ecuador, Africa. And how did you start? I mean, what was your idea? I just thought that the only thing kids celebrate in modern culture are people from the world of entertainment, and the world of sports, which really have become the same field. So I thought, let's put science and technology in that context. Let's show kids that, "You know what, science and technology and engineering and problem-solving is just as much fun and just as accessible and just as rewarding as any of these other sports or entertainment activities you do." We'll do this in the Georgia Dome. I admire the fact that since he was little, he seems to me that Dean had the ability - maybe the culture, maybe the talent, probably a superior brain, but also a sort of a clarity. Nothing intimidates him. Ah yes, this looks like a rehab. Yep, this is like a rehab centre. This is like a rehab centre, yeah. So. So I'll sit. So you'll sit down, and now you're in a mode which would be like an ordinary wheelchair. You can go backward and forward, and... Yeah, right. So you could now drive around in this mode and you can see... And can I go up this way? Drive up the little curb first, just to get what it feels like, and you don't even have to see it, it'll compensate. This is about three times as steep as a legal ramp would ever be, and most people in a wheelchair can't even go up a normal one, they fall on their head. Yeah, that's what they do they fall. My brother fell several times.

Which is why your brother will love that wheelchair. Yeah. Gil Rossellini, my brother from my Indian stepmother. It was my father's third marriage. I received the phone call almost two years ago