60 Minutes (1968) s46e07 Episode Script
Season 46, Episode 7
You don't hear much about them, but there are at least four American hostages in the hands of terrorists in Syria.
They were captured in the civil war, which has killed an estimated homeless.
Few know the suffering of Syria, and the suffering of the American captives, better than a 35-year-old New Yorker named Matt Schrier.
That's because until his escape this summer, Schrier was among the hostages.
Tonight, he tells us about his time with the rebels fighting to take Syria -- and about his 210 days of captivity, torture and eventual salvation.
Matt Schrier: The gunfire was all day.
Sniper fire all day.
I mean, we were behind a wall, and you couldn't come out from that wall.
If you stuck your head out from that wall, they would blow it off.
Matt Schrier is a war photographer and like most journalists, he slipped into Syria with the help of the Free Syrian Army--a moderate rebel group supported by the United States.
Schrier captured these images of FSA rebels fighting the forces of the Syrian dictator Bashar al-Assad.
Scott Pelley: What were the rebels fighting for? Matt Schrier: Freedom.
One of the guy's name was Hamid Noor.
After the first battle that night he was walking back, and he just looked, and he held out his hand, and the area was devastated.
And he just goes, "No freedom.
No freedom.
" And he went through his phone, and he just showed me all his friends.
"Dead.
Dead.
Dead.
Bashar.
Bashar.
" Like that, over and over again.
And that's what they all, they were all calling for, freedom.
But the men of the Free Syrian Army are not the only rebels.
Many of the best-trained and ruthless fighters belong to Islamic extremist groups--rebel militias that the U.
S.
considers terrorists.
After 18 days with the moderate Free Syrian Army, Schrier was driving out of Syria.
It was New Year's Eve, and as the calendar ran out, so did his luck.
Matt Schrier: A Jeep Cherokee just cut across from the side of the road and three guys jumped out.
One of 'em was cloaked completely in black, you know, like the guys in the movies -- scarf around his face, AK-47 in his hand, and he took me out, put me in the back seat of the Cherokee and he put the barrel of the gun to the side of my head.
Scott Pelley: And you thought what? Matt Schrier: I thought, you know, my life just changed.
Changed by Jabhat al-Nusra, a rebel group in league with al Qaeda, bent on turning Syria into an extremist Islamic state.
Its fighters are notorious for suicide attacks, kidnappings, and executions.
Scott Pelley: What did it mean to you that you were with Jabhat al-Nusra? Matt Schrier: Anything could happen.
Scott Pelley: Had you seen videos of them executing prisoners? Matt Schrier: Yeah.
Scott Pelley: Did you think that was going to happen to you? Matt Schrier: I thought there was a good chance, yeah.
They threw Schrier in with other prisoners in what had been a children's hospital.
Matt Schrier: All I knew is that people were getting tortured.
Because my second day there, that's when I started hearing people screaming.
And you'd hear-- you'd hear, whap-- (CLAPPING).
And they enjoy it.
One of them said, "It gets me closer to God.
" Scott Pelley: Torturing people? Matt Schrier: Yeah.
He told us the chief of torture was a man named "Kawa.
" Matt Schrier: He had this voice, this high pitched squeaky voice.
And you can hear him interrogating people and -- zzz, zzzz, zzzz -- like, he used electricity.
And-- you know, so in between whacks he hung people from handcuffs on pipes.
And they would just leave them hanging there.
And you know, their wrists would be out to, literally, like, out to there by the time they were done.
Scott Pelley: They were torturing people with electricity? Matt Schrier: Yeah.
His captors accused him of working for the CIA and said that he would be judged before an Islamic court.
But that day never came.
Scott Pelley: How did you count the days? Matt Schrier: I just said them every day, like five times a day.
I was very hard on myself when it came to that.
You know, I was very strict and disciplined.
Scott Pelley: What do you mean you said them to yourself? Matt Schrier: Every day, "March 1st, 2013.
" Just like that.
Discipline, "like that," helped him endure.
And so did making a connection with the younger guards.
He told us that he joked with them -- taught them to fist bump -- and he learned a little Arabic along the way.
After 21 days, one jailer named Mohammed moved him to a cell where another prisoner was lying on the floor.
Matt Schrier: And this guy shoots up and his beard's out to here, and he's dirty.
And he's talking to Mohammed in Arabic like, da-da-da.
And Mohammed's just like, "Ameriki, Ameriki, like you.
" And I was like, "What are you talking about?" I didn't believe him, 'cause the guy was speaking Arabic, you know? And he looked like he had the beard and everything.
And I looked and I was just like, "Oh my God, he is an American.
" It was a curveball.
Like, I didn't expect this at all.
You know, like one of the first things I said is, like, "Oh my God, they're collecting us.
" The "collection" is made up of at least four Americans.
The families of two of them don't want us to use their names because they believe that would make it harder to negotiate their release.
Journalists Austin Tice and James Foley's families asked us to show you their pictures, to remind people that their loved ones are missing.
After holding Schrier for 33 days, Jabhat al-Nusra decided to kidnap his identity too.
He told us that masked men, speaking English with no accent, forced him to give up his passwords.
To throw people off his trail, they sent this email to his mother: "sorry but I have no internet and no timeI'm doing a lot of amazing photos hear.
" Yes, they spelled "here" h-e-a-r.
If spelling was a challenge, his captors showed talent with numbers--the numbers on his credit cards.
Scott Pelley: What did they buy with your credit cards? Matt Schrier: Mercedes parts, Ray-Ban sunglasses, tablets, laptops, cologne, a lot of iTunes purchases.
Scott Pelley: iTunes? Matt Schrier: iTunes, yeah.
Scott Pelley: What did it come to by the time they maxed out your credit cards? Matt Schrier: About 17-grand.
After 37 days in the basement of the children's hospital in the city of Aleppo, Schrier says one of his jailers noticed gouges in the door of his cell.
They accused him of trying to escape and made certain he would never try again.
Matt Schrier: And there were like 10 guys with masks in dressed all in black.
And then they brought me down and sat me down.
They put the tire on me, and they flipped me over.
And there was a guy in charge, said, "Give him 115.
" They started whacking my feet.
Scott Pelley: How was it that they used a tire to tie you up? Matt Schrier: They put your legs -- they make ya sit like this and then they put it over your knees-- Scott Pelley: Like a car tire? Matt Schrier: Yeah.
And then they'll take a stick and they'll wedge it on top, so-- Scott Pelley: So now it's locked over-- Matt Schrier: --it's locked into place, you can't bend your legs.
And then they flip ya over, you got your feet in the air and you can't move 'em, you can't do anything.
Scott Pelley: And they start beating your feet? Matt Schrier: Yeah.
Scott Pelley: The bottoms of your feet? Matt Schrier: Yeah.
Scott Pelley: With what? Matt Schrier: It's a cable.
I thought it was a nightstick, that's about how thick it was.
Scott Pelley: So they said, "Okay, give him Matt Schrier: One fifteen.
One hundred fifteen.
Scott Pelley: So what is that like? Matt Schrier: It hurts, obviously and, I mean, it sounds ridiculous, but one thing you just gotta remember is you can't curse.
Scott Pelley: Because of their religious fanaticism, no cursing-- Matt Schrier: Don't curse and just keep yellin' out, you know, "God-- God help me, God this, God that," 'cause ya know, they can relate to that.
So they picked me up and they just, one on each side, dragged me back to the room and then they opened the door and the guy put his face next to me.
And he said, in Arabic, he said, "Have you heard of Guantanamo Bay?" In his first 100 days, Schrier says he was moved to new prisons repeatedly and every move was dangerous.
Matt Schrier: They wear suicide belts in case somebody tries to take their prisoners, when they move ya, they bring all their muscle.
Which the Jabhat al-Nusra rebels needed when they ran into a unit from the U.
S.
- supported Free Syrian Army.
Schrier witnessed the anarchy that Syria has become--rebel groups of different agendas, fighting each other.
Matt Schrier: And within a couple minutes of us pulling up, we heard gunshots go off.
And then they were going off constantly.
And the drivers got out, ran and the suicide bombers came out.
And they surrounded, you know, we saw -- there were two that I know of.
You know, Mohammad had one on, there was another guy about 30 feet away and he was just standing there like this.
Scott Pelley: With his fingers on the detonators? Matt Schrier: Yeah, and just his body language, he was ready to-- he was ready to go.
Scott Pelley: These are the rebels fighting the rebels? Matt Schrier: Yeah.
As soon as the gunshots stop, they all start screaming, "Allahu Akbar," which means somebody got killed, they're goin' nuts.
"Allahu Akbar," all of 'em.
With those Arabic shouts of 'God is great,' Schrier told us he was delivered to an even worse prison, where he was shocked with a Taser, beaten and starved.
As the months went by, there would be six prisons in all.
And when he reached the last one, he was thrown into yet another basement cell.
But in this one, there was something different near the ceiling.
Matt Schrier: In like five minutes I noticed the window, had wires all across the outside.
Not thin wires.
They were thick.
And they were concreted into the foundation of the building.
But once upon a time somebody must have broken in, because the last window, the wires didn't match up.
He spent weeks looking at the wires, but not touching -- not after being tortured for those gouges in the door.
Matt Schrier: And I would stare at it.
And I figured it out.
Horizontally they had three wires crossed.
But they only welded it on one side.
So I said, "If I take out the verticals I could bend 'em and take 'em out one at a time.
Then I can bend the welded pieces back 'cause they weren't welded on both sides.
Schrier waited for the holy month of Ramadan when the faithful fast.
He expected his guards would be sleeping through the day.
On July at the window.
Matt Schrier: I put both my head and then both arms through first, you know? And I Supermanned out.
I squirmed a little bit which made a lot of noise.
And I got stuck around my waist 'cause my pants.
I was wearing my pants.
So I reached in, I unbuckled my pants.
And as soon as I unbuttoned 'em, I just slid right out.
And within five minutes I was walking through the streets of Aleppo, free.
This is what Matt Schrier looked like after seven months of captivity.
But his ordeal wasn't quite over.
Armed with only the Arabic he'd managed to pick up in prison, he walked through the bombed out streets of Aleppo, looking for the U.
S.
-backed rebels from the Free Syrian Army.
Matt Schrier: And I went up to one guy who was in a truck, sleeping.
And I said, I ran up to him.
I learned the Arabic that I needed to know.
I said, "Help me.
Help me.
Kidnapped by criminals.
" And he goes, "(makes noise).
" That means "no" in the Arab world.
And he just closed his eyes like, "I didn't see nothin'.
" So I was like, "Great.
" So I start zig-zagging.
It's like alleys.
The city's like alleys.
And I got to a main road.
And I saw an old man.
I did the same thing.
I said [Arabic language.]
That means, "Help me.
" And he goes, "No.
" And by now people are wakin' up.
I got to one point I turned and there was a guy s-- with his back to me with an AK and I just turned around and walked the other direction.
Zig zag, zig zag, zig zag.
So I saw three guys on the corner.
And I walked up to 'em and I was like-- in Arabic I said, "Where's the Free Syrian Army?" Turned out, just around the corner.
They took him to the Turkish border.
And he called the U.
S.
embassy.
Matt Schrier: They called my mother.
I can speak to my mother.
I spoke to my sister.
Two days later they put me on a plane to JFK.
Scott Pelley: What'd you tell your mom? Matt Schrier Sorry.
I'm sorry.
I'm OK.
You know, seven months is a long time to just disappear in the most dangerous country in the world.
Nick Woodman is an avid surfer who 12 years ago created a waterproof camera so he could record himself and his friends catching some waves.
It's called a GoPro, and it's now the bestselling camera in the world, and it's made Woodman a billionaire.
GoPro is a wearable camera that can go just about anywhere, but what really sets it apart is that it allows anyone to become the star of their own real life movie.
The results can be astonishing.
With GoPro cameras attached to their helmets, Matthias Giraud and his friend record what it's like to ski down a mountain in the French Alps -- and then to ski off it.
With GoPro you don't just see the action, you experience it.
The camera is small, light and runs by itself.
Underwater, on waves, on slopes, in the air -- GoPro has become the go-to camera for people who like adventure and action sports.
Nick Woodman: The original idea for GoPro was to help surfers capture photos of themselves surfing that made them look like a pro-- the idea "Go Pro.
" Nick Woodman is 38, and thanks to the camera he created, one of America's newest billionaires.
Nick Woodman: Before GoPro, if you wanted to have any footage of yourself doing anything, whether it's video or photo, you not only needed a camera, you needed another human being.
And if you wanted the footage to be good, you needed that other human being to have skill with the camera.
The result was that most people never had any footage of themselves doing anything.
GoPro has certainly changed that.
It can be attached to all kinds of things: the nose of a kayak, a hula hoop, a vulture in flight.
It costs less than $400 and its wide angle lens doesn't just take high definition video, it can also take photographs, record time lapse and slow motion.
In 2012, a hundred and 38 sky divers, many of them wearing GoPros on their helmets and harnesses, set the world record for something called vertical sky diving.
The aerial gathering was breathtaking and beautiful.
Back on planet Earth, a bike messenger and his feline co-pilot use a GoPro to record their rides on the streets of Philadelphia.
Nick Woodman Everybody around the world does something that they-- that they'd like to capture and relive and share with other people.
Anderson Cooper: Are you still surprised at how the camera's being used? Nick Woodman: Oh, absolutely-- Nick Woodman: I always think of-- James Trosha teenager in the U.
K.
Trosh, a film student, attached a GoPro and a toy robot to a weather balloon and then let it go.
It rose 95,000 feet to the edge of space.
Nick Woodman: I remember seeing it for the first time on YouTube and just having my mind blown.
I mean, we had never thought of using a GoPro like that.
And I remember just saying, "That's what I'm talking about!" Woodman was 26 when he started GoPro in 2002.
He was a young entrepreneur with one failure already under his belt: an online gaming venture.
Anderson Cooper: It was a tech startup? Nick Woodman: Yeah.
FunBug.
com-- I started it when I was 24.
Raised $4 million of other people's money and lost it all two years later.
Because of that, he decided to finance GoPro himself with $260,000 in savings and money borrowed from family.
The first GoPro was a waterproof film camera attached to a wrist strap.
Woodman sold them to California surf shops out of his van.
Before long, he created a digital video camera that was a fraction of the size.
Woodman sold enough of them that he could afford to take lessons to learn how to drive a race car.
That's when he realized what the camera could become.
Nick Woodman: They-- wanted to rent me a camera to put on the car for 100 bucks for a half-hour session.
And I thought, "Well, that's crazy.
I've got a wrist camera in my car, my GoPro that shoots video.
I'll just strap it to the roll bar.
And everybody else in the school gathered around me and asked me, "Hey, where did you get that?" And I remember turning to the fellow that asked me and I said, "Dude, I made that.
" And I went out and I did my practice session in the race car, came back and looked at the footage and, "Wow.
" The light bulb went off and I realized GoPro needs to go from being a wrist camera company to being, you know, the everything camera company.
GoPros are now everywhere.
People use them to turn family home videos into images even strangers might enjoy watching.
Mount the camera on a stick, and a game of fetch with your dog, takes on a whole new focus.
Capturing action sports remains the camera's biggest selling point, and GoPro sponsors athletes as a way of promoting its brand.
Daredevil Jeb Corliss travels the globe to fly in a wingsuit adorned with GoPros.
Here, he's rocketing along the Alps in Switzerland.
Corliss makes a good part of his living licensing the video.
GoPro also sponsors Kelly Slater, the biggest name in surfing who's won a record breaking have also pushed the boundaries of surfing photography.
Nick Woodman: Every surfer in the world dreams to ride the inside of a wave, a barrel, like Kelly Slater.
And Kelly can take his fans there by-- he puts a GoPro in his mouth while he paddles into the wave.
And as he pulls into the barrel, he takes the camera out of his mouth and holds it behind him, looks back and is traveling inside of this wave, having this incredible experience that before he was never able to share with anybody.
Its images like these that contribute to GoPro's bottom line.
Revenue has doubled every year.
Sales went from $350,000 in 2005 to over $500 million in 2012.
It's on track to double that this year.
Anderson Cooper: Do you worry about growing too fast? Nick Woodman: I don't worry about it anymore.
There was a time where-- when I should've been jumping up and down for joy at how well the business was going, I was actually terrified, and I understood for the first time what people mean when they say, "Success can kill a business that isn't ready for it.
" A prime example is the new model camera Woodman released in 2012.
Some customers complained their cameras suddenly stopped working.
GoPro had to scramble to fix the problem with software updates.
Nick Woodman: We launched a product before the software was fully, fully, fully mature.
And we didn't know it.
GoPros may be the perfect camera for a self-obsessed and selfie-obsessed generation.
Nick Woodman certainly likes to document practically everything he does.
Woodman with GoPro in his mouth: This is the way I use it all the time.
We tagged along with him on a surfing trip to Mexico.
His old van is long gone, replaced by his new private jet.
Woodman stands in aisle: "Show me what this thing can do!" Woodman was with old friends who helped him start GoPro and still work there.
The trip was for fun, but also to put the company's new cameras to the test.
Nick Woodman: If it doesn't work in the real world, and frankly, if it doesn't work in the surf, well, there's a good chance that we won't make it.
Unlike most cameras, GoPros are used by both amateurs and professionals alike.
At 60 Minutes, we use them to get shots that other cameras simply can't.
We've attached them to the ends of polo mallets, climbers clinging to the cliffs of Yosemite.
And taken them on dives in the Okavanga Delta to get up close with deadly Nile crocodiles.
Nick Woodman: You have the 60 Minutes of the world using the same camera that, you know-- snowboarding the half pipe.
Anderson Cooper: Do you worry, though, sometimes kids take it too far? Nick Woodman: You know, that's definitely a concern.
Thankfully, I think that humans' inherent desire to stay alive kicks in and GoPro isn't the first thing that's enabled people to see other people doing crazy things.
With so many GoPros in so many places, they're increasingly catching all manner of mishaps.
This GoPro was stolen by a seagull in the French city of Cannes, resulting in a genuine bird's eye view.
GoPros also capture more serious events.
In a now infamous incident in September, motorcyclists in New York tangled with the driver of an SUV.
A helmet-mounted GoPro captured the confrontation.
Beyond bad behavior, they're also recording some of the natural wonders of the world.
The Scripps Institute of Oceanography uses off-the-shelf GoPros in its high tech labs in Southern California.
Eric Terrill: We develop our own technology, but we're not technology snobs.
If there's a m-- off-the-shelf solution that will fit the bill for us, we're going to use it.
Scientist Eric Terrill mounts the $400 GoPro on a $350,000 ocean-going research torpedo to map coral reefs in high detail.
Anderson Cooper: You're seeing parts of the ocean and things in the ocean you'd never seen before? Eric Terrill: At the resolution that it's providing us and over long distances.
So, it's enabling us now to survey wide areas that we hadn't really been able to do beforehand.
In waters off the Pacific islands of Palau, Terrill's team uses the cameras to find the sunken wreckage of World War II planes.
They also send GoPros into the sky on small remote controlled drones [Anderson Cooper: That is amazing.
.]
to survey the cliffs near Scripps Institute in La Jolla.
The high resolution video is then turned into 3D models that will help track erosion over time.
Low cost drones are opening new horizons for Nick Woodman's company.
For under a thousand dollars, amateurs can get the kind of footage that was previously only possible with big budget professional productions.
Sometimes the images are so startling, it's hard to tell if they're from Hollywood's computerized reality or reality.
In August, 2012, Mark Peters and his friends were tuna fishing off California when they lowered a GoPro into the water to see what was down there.
Nick Woodman: And when he got home and loaded it on his computer to watch it, he was just totally blown away by what he saw.
Nick Woodman: And then the rest of the world was blown away by what he saw: these beautiful dolphins dancing.
And it looked like it was a professional production shoot, but it was just a fisherman on his way home.
GoPro turned the dolphin video into a commercial.
It has a team that scours YouTube and the web looking for amateur videos it can feature on TV or online.
This video of Charlie Ray Wick, learning how to walk and going airborne, became a commercial that ran during the Super Bowl.
The strategy is to take advantage of what might be GoPro's most effective sales force -- its own customers.
Anderson Cooper: You get new video all the time.
Nick Woodman: All the time.
Nick Woodman: So this is actually a video of a firefighter rescuing and resuscitating a kitten.
Anderson Cooper: And a video like that would very easily go viral around the world.
I mean-- Nick Woodman: Oh-- Oh, my God, yeah.
Anderson Cooper: And that's essentially a commercial for GoPro.
Nick Woodman: Essentially a commercial for GoPro.
It's a marketer's dream and it's all based off of authenticity, right.
It's our customers doing interesting things around the world.
And they're so stoked that they're able to finally self-document these things that they like to do and share it with people.
They're so stoked at how good they look in the video that when they share the video they often give us credit: My GoPro ski trip, my GoPro day at the park with my kids.
Anderson Cooper: You're the only CEO I've ever interviewed who has used the word "stoked.
" Nick Woodman: Like, 5 million times.
Anderson Cooper: It's about 5 million times, yes.
Nick Woodman: Well, you know, it's-- it's-- you've gotta stay true to who you are.
And I recognize that my approach to life and our-- now our company's approach to life is what has made GoPro what it is.
And so there's no reason to change that.
For those of us of a certain age, it's hard to believe that we're approaching the 50th anniversary of two defining but very different moments in American history: the assassination of President Kennedy half a century ago - and shortly after, the arrival of a British condition called Beatlemania that infected America.
Tonight, we'll hear from Henry Grossman, a freelance photographer whose camera captured the spirit of both the young president and the even younger rock stars plus a host of other faces that defined an era.
Some of his shots have been hidden away for 50 years, shown here for the first time on television.
Others you will recognize in a heartbeat.
to capture what was happening, what was going on.
I wasn't interrupting them and saying, "Oh, wait a minute, I gotta do that again.
" What is it seize the day, seize the moment? Henry Grossman: Smile.
Stay right there.
I like the light.
Over half a century ago, this picture changed Henry Grossman's life.
John F.
Kennedy, in Boston, where Grossman, a student, often photographed visiting VIPs.
Henry Grossman: This is taken the day he announced his candidacy for president.
I gave him a copy of this and he called it his eyes portrait.
He was very young.
And unknown.
Morley Safer: You were pretty young yourself.
Henry Grossman: I was about 22, 23.
Yeah.
The encounter compelled Grossman to hit the road, tagging along on the Kennedy campaign.
Henry Grossman: The crowd wanted him.
Liked him so much.
Morley Safer: Why did you decide that you wanted to follow JFK around? Henry Grossman: Personality was great.
And it was an opportunity to photograph a man who could become president.
Wasn't that fun? A famous image taken on Wall Street.
Morley Safer: They're looking up at what, people in windows was that it? Henry Grossman: People in windows.
They were beginning to throw confetti.
Another captured the savvy candidate posing with the Statue of Liberty.
Morley Safer: You were clearly a fan of his.
Henry Grossman: I was a fan of his, yes.
Morley Safer: Did you go to great pains to make him look good? Henry Grossman: You didn't have to try to make him look good.
Henry Grossman: There I was.
After the election, he was a familiar face in the White House.
Henry Grossman: The president is just signing a picture here for me.
We called him Jack all during the campaign and even when he into the White House except not when people were around, because then it was Mr.
President.
This one I like because it looks like I'm an advisor to the president.
And, uh, there's Jack with a bandage on his face because he bumped his head when he picked up a toy or something that Caroline had dropped.
Another famous image.
A windblown JFK.
It was published around the world.
Henry Grossman: I gave Jackie, a copy of that picture 'cause I loved it.
And a friend of mine said she looked at it and she said, "I think it's my favorite picture of Jack.
" Which was very inspiring, very nice.
Morley Safer: What was your reaction when you heard he was killed? Henry Grossman: Oh, God.
Sorrow.
How deeply can sorrow be felt for the loss of what would have been, what could have been, what might have been, what was? This was the front page of the New York Times the day after John Kennedy died.
The portraits of the fallen president - and his successor - both taken by Henry Grossman.
He later photographed the former First Lady at home in New York.
Henry Grossman: She was very photogenic, very quiet.
She could be sharp and strong.
Morley Safer: Tough.
Henry Grossman: Yes, lovely but tough.
And he traveled with Robert Kennedy during his presidential campaign.
Shortly before RFK was killed Grossman caught him catnapping during an exhausting day on the road.
Henry Grossman: It's an eerie picture to me.
Knowing what happened to him and having known what happened to his brother, my God.
Like many talented photographers, Grossman also had great luck being in the right place at the right time.
This theater in New York, for instance.
Today it's home to David Letterman.
Fifty years ago, a revolution took place here.
Henry Grossman: I lived a block away and so I walked over here with no anticipation, no understanding of what I would find.
There's an English word, "gobsmacked.
" I was gobsmacked.
[Beatles: Ah.
Ah, Ah, Ahhhhhhh -- - Shake it up baby now, (shake it up baby), twist and shout, (twist and shout).
.]
When Ed Sullivan introduced the Beatles to America, 73 million viewers were watching.
Henry Grossman was there, shooting for Time Magazine.
Henry Grossman: I guess I shot a first couple of pictures of the guys on stage and what they were doing.
We talked onstage at the very spot the music was made.
Henry Grossman: And then when I looked around and I could see the hysteria on some of these girls, tears streaming down their faces.
"Wow, look at that.
Look at that.
Look at that.
" [Beatles: She wouldn't dance with another (ooooh) since I saw her standing there.
.]
Morley Safer: It's fascinating that these kids probably couldn't hear the band for their own voices, right? Henry Grossman: I don't think it mattered.
Grossman figured that first glimpse of the band was probably his last.
Morley Safer: Did you feel or did they feel that this was just a flash in the pan? Henry Grossman: I'm afraid they did.
I was speaking with George in London at his house once.
He said "Henry, who knows how long this is gonna last?" And that was 50 years ago, before they became icons of the century.
They would meet again.
But for the moment, Grossman moved on, photographing, in just a few weeks time, the wedding of Elizabeth Taylor and Richard Burton in Montreal.
Barbra Streisand opening on Broadway in "Funny Girl.
" And the Supremes, the other pop music phenomenon of 1964.
Henry Grossman: Huh, let's see what these are.
Oh my gosh! His archive -- if you can call it that -- is an archaeological dig into our collective past.
Morley Safer: Why don't you just open a drawer at random and pull something out and see what surprises we'll find here.
Henry Grossman: Oh, ho ho ho ho.
March on Washington.
Oh, this is Eleanor Roosevelt and Mandela.
A hodge-podge of history.
Henry Grossman: Nixon.
Morley Safer: He looks pretty happy.
Morley Safer: Are you surprising yourself as you go through these? Henry Grossman: Endlessly.
Endlessly.
There's David Ben-Gurion, Israel's founding father, both fore - and aft.
Henry Grossman: This was the shot I shot in back.
Morley Safer: Oh, that's wonderful.
Looks like a flying saucer or something.
Henry Grossman: Yes, Saturn.
There's George Hamilton as Dracula.
Writer Kurt Vonnegut.
Jimi Hendrix, eating his guitar.
The man who would be king - briefly - the duke of Windsor and his American wife.
Henry Grossman: One of my favorite pictures.
This is Cassius Clay, winner, after a knockout fight.
Morley Safer: Before he was Muhammad Ali.
Henry Grossman: That was the celebration.
There was a strawberry shortcake in front of him and he was too tired and beat up to really appreciate it.
Beautiful women became a specialty.
Jacqueline Bisset.
Julie Christie.
Mia Farrow.
Meryl Streep.
Morley Safer: You really hung out with the babes a lot, didn't you? Henry Grossman: Oh, do you blame me? Many of the performers he photographed have gone on to that great red carpet in the sky.
Leonard Bernstein, the conductor and composer who gave us "West Side Story.
" Maria Callas, in her farewell Carnegie Hall recital.
Another operatic superstar, Luciano Pavarotti, in a photo that could be a Renaissance painting.
And Marilyn Monroe, the night she sang Happy Birthday to JFK.
Henry Grossman: Wow.
George Harrison and his Aston Martin.
But he's best known for his Beatles pictures, and for good reason.
A recent limited edition book containing hundreds of previously unseen images sold out quickly, at $500 pop.
Henry Grossman: This is George Harrison in Nassau.
He had obviously just gotten up.
And there was a look to him that was so simple and vulnerable, but look how open and honest he is.
Morley Safer: And so ridiculously young.
Henry Grossman: Yes.
[From the film "Help!": There he is.
Hey, I tried to warn him.
.]
He got to know them really well in the Bahamas, when they made the film "Help!" Grossman tagged along, shooting for LIFE Magazine.
It was a low key affair, a far cry from the pandemonium of the Sullivan show a year earlier.
The photographer and the band hit it off.
Henry Grossman: I was a fly on the wall, watching and being a friend.
They talked.
They joked.
Each morning, Grossman served as the band's human alarm clock.
Morley Safer: Your wakeup call to the Beatles was what? Henry Grossman: Oh, what a beautiful morning, oh what a beautiful day, I've got a wonderful feeling everything's going my way.
And it did.
Henry Grossman: This is a picture that Ringo took.
John wanted to make my hair long and combed like a Beatle which he tried to do.
This is terrific fun for me.
As filming took them from Nassau to Austria to London in early 1965, he met the four young women who were the envy of teenage girls everywhere.
Ringo and his wife Maureen, newlyweds.
John and his wife, Cynthia.
Paul and girlfriend Jane Asher.
Pattie Boyd, George's girlfriend and wife to be.
Soon, he was welcome in their homes in London.
Life went on around him.
Ringo and son Jason, a chip off the old block.
John and Cynthia and Julian, two years old.
Morley Safer: Everything looks very conventional, with wives and girlfriends.
Henry Grossman: That was a surprise to me, too.
John's house looked very much like a straight, middle-class American house.
George and John were strumming guitars and playing while little baby Julian was watching.
And the wives were in the living room talking about drapes and curtains.
Grossman was there for the band's famous audience with the Indian guru the Maharishi.
The summer of love, 1967.
Henry Grossman: I think they were genuinely hooked on him and what they might become through him.
I don't know how long it lasted.
He took rare pictures of others in the Beatles family.
Paul and his father Jim.
Brian Epstein, the band's brilliant manager.
George Martin, the legendary record producer.
Henry Grossman: George Martin was the kind of guy that was reading poetry in between recording the Beatles.
By 1970, the ending - the unraveling of the band -- Grossman had moved on to other assignments, other interests.
Parting, though, with the greatest respect.
Henry Grossman: I loved THEM.
They were terrific guys.
They knew what they were doing, they knew who they were very well.
They did not try to put on somebody that they're not.
What was there and what you saw was what you got.
Looking at Henry Grossman's pictures, there's a sense of both joy and melancholy -- of things past and times lost.
But as the novelist Robert Goddard wrote: photographs don't distinguish between the living and the dead.
The pictures are always there.
And so are the people in them.
Frozen in the best time of their lives.
They were captured in the civil war, which has killed an estimated homeless.
Few know the suffering of Syria, and the suffering of the American captives, better than a 35-year-old New Yorker named Matt Schrier.
That's because until his escape this summer, Schrier was among the hostages.
Tonight, he tells us about his time with the rebels fighting to take Syria -- and about his 210 days of captivity, torture and eventual salvation.
Matt Schrier: The gunfire was all day.
Sniper fire all day.
I mean, we were behind a wall, and you couldn't come out from that wall.
If you stuck your head out from that wall, they would blow it off.
Matt Schrier is a war photographer and like most journalists, he slipped into Syria with the help of the Free Syrian Army--a moderate rebel group supported by the United States.
Schrier captured these images of FSA rebels fighting the forces of the Syrian dictator Bashar al-Assad.
Scott Pelley: What were the rebels fighting for? Matt Schrier: Freedom.
One of the guy's name was Hamid Noor.
After the first battle that night he was walking back, and he just looked, and he held out his hand, and the area was devastated.
And he just goes, "No freedom.
No freedom.
" And he went through his phone, and he just showed me all his friends.
"Dead.
Dead.
Dead.
Bashar.
Bashar.
" Like that, over and over again.
And that's what they all, they were all calling for, freedom.
But the men of the Free Syrian Army are not the only rebels.
Many of the best-trained and ruthless fighters belong to Islamic extremist groups--rebel militias that the U.
S.
considers terrorists.
After 18 days with the moderate Free Syrian Army, Schrier was driving out of Syria.
It was New Year's Eve, and as the calendar ran out, so did his luck.
Matt Schrier: A Jeep Cherokee just cut across from the side of the road and three guys jumped out.
One of 'em was cloaked completely in black, you know, like the guys in the movies -- scarf around his face, AK-47 in his hand, and he took me out, put me in the back seat of the Cherokee and he put the barrel of the gun to the side of my head.
Scott Pelley: And you thought what? Matt Schrier: I thought, you know, my life just changed.
Changed by Jabhat al-Nusra, a rebel group in league with al Qaeda, bent on turning Syria into an extremist Islamic state.
Its fighters are notorious for suicide attacks, kidnappings, and executions.
Scott Pelley: What did it mean to you that you were with Jabhat al-Nusra? Matt Schrier: Anything could happen.
Scott Pelley: Had you seen videos of them executing prisoners? Matt Schrier: Yeah.
Scott Pelley: Did you think that was going to happen to you? Matt Schrier: I thought there was a good chance, yeah.
They threw Schrier in with other prisoners in what had been a children's hospital.
Matt Schrier: All I knew is that people were getting tortured.
Because my second day there, that's when I started hearing people screaming.
And you'd hear-- you'd hear, whap-- (CLAPPING).
And they enjoy it.
One of them said, "It gets me closer to God.
" Scott Pelley: Torturing people? Matt Schrier: Yeah.
He told us the chief of torture was a man named "Kawa.
" Matt Schrier: He had this voice, this high pitched squeaky voice.
And you can hear him interrogating people and -- zzz, zzzz, zzzz -- like, he used electricity.
And-- you know, so in between whacks he hung people from handcuffs on pipes.
And they would just leave them hanging there.
And you know, their wrists would be out to, literally, like, out to there by the time they were done.
Scott Pelley: They were torturing people with electricity? Matt Schrier: Yeah.
His captors accused him of working for the CIA and said that he would be judged before an Islamic court.
But that day never came.
Scott Pelley: How did you count the days? Matt Schrier: I just said them every day, like five times a day.
I was very hard on myself when it came to that.
You know, I was very strict and disciplined.
Scott Pelley: What do you mean you said them to yourself? Matt Schrier: Every day, "March 1st, 2013.
" Just like that.
Discipline, "like that," helped him endure.
And so did making a connection with the younger guards.
He told us that he joked with them -- taught them to fist bump -- and he learned a little Arabic along the way.
After 21 days, one jailer named Mohammed moved him to a cell where another prisoner was lying on the floor.
Matt Schrier: And this guy shoots up and his beard's out to here, and he's dirty.
And he's talking to Mohammed in Arabic like, da-da-da.
And Mohammed's just like, "Ameriki, Ameriki, like you.
" And I was like, "What are you talking about?" I didn't believe him, 'cause the guy was speaking Arabic, you know? And he looked like he had the beard and everything.
And I looked and I was just like, "Oh my God, he is an American.
" It was a curveball.
Like, I didn't expect this at all.
You know, like one of the first things I said is, like, "Oh my God, they're collecting us.
" The "collection" is made up of at least four Americans.
The families of two of them don't want us to use their names because they believe that would make it harder to negotiate their release.
Journalists Austin Tice and James Foley's families asked us to show you their pictures, to remind people that their loved ones are missing.
After holding Schrier for 33 days, Jabhat al-Nusra decided to kidnap his identity too.
He told us that masked men, speaking English with no accent, forced him to give up his passwords.
To throw people off his trail, they sent this email to his mother: "sorry but I have no internet and no timeI'm doing a lot of amazing photos hear.
" Yes, they spelled "here" h-e-a-r.
If spelling was a challenge, his captors showed talent with numbers--the numbers on his credit cards.
Scott Pelley: What did they buy with your credit cards? Matt Schrier: Mercedes parts, Ray-Ban sunglasses, tablets, laptops, cologne, a lot of iTunes purchases.
Scott Pelley: iTunes? Matt Schrier: iTunes, yeah.
Scott Pelley: What did it come to by the time they maxed out your credit cards? Matt Schrier: About 17-grand.
After 37 days in the basement of the children's hospital in the city of Aleppo, Schrier says one of his jailers noticed gouges in the door of his cell.
They accused him of trying to escape and made certain he would never try again.
Matt Schrier: And there were like 10 guys with masks in dressed all in black.
And then they brought me down and sat me down.
They put the tire on me, and they flipped me over.
And there was a guy in charge, said, "Give him 115.
" They started whacking my feet.
Scott Pelley: How was it that they used a tire to tie you up? Matt Schrier: They put your legs -- they make ya sit like this and then they put it over your knees-- Scott Pelley: Like a car tire? Matt Schrier: Yeah.
And then they'll take a stick and they'll wedge it on top, so-- Scott Pelley: So now it's locked over-- Matt Schrier: --it's locked into place, you can't bend your legs.
And then they flip ya over, you got your feet in the air and you can't move 'em, you can't do anything.
Scott Pelley: And they start beating your feet? Matt Schrier: Yeah.
Scott Pelley: The bottoms of your feet? Matt Schrier: Yeah.
Scott Pelley: With what? Matt Schrier: It's a cable.
I thought it was a nightstick, that's about how thick it was.
Scott Pelley: So they said, "Okay, give him Matt Schrier: One fifteen.
One hundred fifteen.
Scott Pelley: So what is that like? Matt Schrier: It hurts, obviously and, I mean, it sounds ridiculous, but one thing you just gotta remember is you can't curse.
Scott Pelley: Because of their religious fanaticism, no cursing-- Matt Schrier: Don't curse and just keep yellin' out, you know, "God-- God help me, God this, God that," 'cause ya know, they can relate to that.
So they picked me up and they just, one on each side, dragged me back to the room and then they opened the door and the guy put his face next to me.
And he said, in Arabic, he said, "Have you heard of Guantanamo Bay?" In his first 100 days, Schrier says he was moved to new prisons repeatedly and every move was dangerous.
Matt Schrier: They wear suicide belts in case somebody tries to take their prisoners, when they move ya, they bring all their muscle.
Which the Jabhat al-Nusra rebels needed when they ran into a unit from the U.
S.
- supported Free Syrian Army.
Schrier witnessed the anarchy that Syria has become--rebel groups of different agendas, fighting each other.
Matt Schrier: And within a couple minutes of us pulling up, we heard gunshots go off.
And then they were going off constantly.
And the drivers got out, ran and the suicide bombers came out.
And they surrounded, you know, we saw -- there were two that I know of.
You know, Mohammad had one on, there was another guy about 30 feet away and he was just standing there like this.
Scott Pelley: With his fingers on the detonators? Matt Schrier: Yeah, and just his body language, he was ready to-- he was ready to go.
Scott Pelley: These are the rebels fighting the rebels? Matt Schrier: Yeah.
As soon as the gunshots stop, they all start screaming, "Allahu Akbar," which means somebody got killed, they're goin' nuts.
"Allahu Akbar," all of 'em.
With those Arabic shouts of 'God is great,' Schrier told us he was delivered to an even worse prison, where he was shocked with a Taser, beaten and starved.
As the months went by, there would be six prisons in all.
And when he reached the last one, he was thrown into yet another basement cell.
But in this one, there was something different near the ceiling.
Matt Schrier: In like five minutes I noticed the window, had wires all across the outside.
Not thin wires.
They were thick.
And they were concreted into the foundation of the building.
But once upon a time somebody must have broken in, because the last window, the wires didn't match up.
He spent weeks looking at the wires, but not touching -- not after being tortured for those gouges in the door.
Matt Schrier: And I would stare at it.
And I figured it out.
Horizontally they had three wires crossed.
But they only welded it on one side.
So I said, "If I take out the verticals I could bend 'em and take 'em out one at a time.
Then I can bend the welded pieces back 'cause they weren't welded on both sides.
Schrier waited for the holy month of Ramadan when the faithful fast.
He expected his guards would be sleeping through the day.
On July at the window.
Matt Schrier: I put both my head and then both arms through first, you know? And I Supermanned out.
I squirmed a little bit which made a lot of noise.
And I got stuck around my waist 'cause my pants.
I was wearing my pants.
So I reached in, I unbuckled my pants.
And as soon as I unbuttoned 'em, I just slid right out.
And within five minutes I was walking through the streets of Aleppo, free.
This is what Matt Schrier looked like after seven months of captivity.
But his ordeal wasn't quite over.
Armed with only the Arabic he'd managed to pick up in prison, he walked through the bombed out streets of Aleppo, looking for the U.
S.
-backed rebels from the Free Syrian Army.
Matt Schrier: And I went up to one guy who was in a truck, sleeping.
And I said, I ran up to him.
I learned the Arabic that I needed to know.
I said, "Help me.
Help me.
Kidnapped by criminals.
" And he goes, "(makes noise).
" That means "no" in the Arab world.
And he just closed his eyes like, "I didn't see nothin'.
" So I was like, "Great.
" So I start zig-zagging.
It's like alleys.
The city's like alleys.
And I got to a main road.
And I saw an old man.
I did the same thing.
I said [Arabic language.]
That means, "Help me.
" And he goes, "No.
" And by now people are wakin' up.
I got to one point I turned and there was a guy s-- with his back to me with an AK and I just turned around and walked the other direction.
Zig zag, zig zag, zig zag.
So I saw three guys on the corner.
And I walked up to 'em and I was like-- in Arabic I said, "Where's the Free Syrian Army?" Turned out, just around the corner.
They took him to the Turkish border.
And he called the U.
S.
embassy.
Matt Schrier: They called my mother.
I can speak to my mother.
I spoke to my sister.
Two days later they put me on a plane to JFK.
Scott Pelley: What'd you tell your mom? Matt Schrier Sorry.
I'm sorry.
I'm OK.
You know, seven months is a long time to just disappear in the most dangerous country in the world.
Nick Woodman is an avid surfer who 12 years ago created a waterproof camera so he could record himself and his friends catching some waves.
It's called a GoPro, and it's now the bestselling camera in the world, and it's made Woodman a billionaire.
GoPro is a wearable camera that can go just about anywhere, but what really sets it apart is that it allows anyone to become the star of their own real life movie.
The results can be astonishing.
With GoPro cameras attached to their helmets, Matthias Giraud and his friend record what it's like to ski down a mountain in the French Alps -- and then to ski off it.
With GoPro you don't just see the action, you experience it.
The camera is small, light and runs by itself.
Underwater, on waves, on slopes, in the air -- GoPro has become the go-to camera for people who like adventure and action sports.
Nick Woodman: The original idea for GoPro was to help surfers capture photos of themselves surfing that made them look like a pro-- the idea "Go Pro.
" Nick Woodman is 38, and thanks to the camera he created, one of America's newest billionaires.
Nick Woodman: Before GoPro, if you wanted to have any footage of yourself doing anything, whether it's video or photo, you not only needed a camera, you needed another human being.
And if you wanted the footage to be good, you needed that other human being to have skill with the camera.
The result was that most people never had any footage of themselves doing anything.
GoPro has certainly changed that.
It can be attached to all kinds of things: the nose of a kayak, a hula hoop, a vulture in flight.
It costs less than $400 and its wide angle lens doesn't just take high definition video, it can also take photographs, record time lapse and slow motion.
In 2012, a hundred and 38 sky divers, many of them wearing GoPros on their helmets and harnesses, set the world record for something called vertical sky diving.
The aerial gathering was breathtaking and beautiful.
Back on planet Earth, a bike messenger and his feline co-pilot use a GoPro to record their rides on the streets of Philadelphia.
Nick Woodman Everybody around the world does something that they-- that they'd like to capture and relive and share with other people.
Anderson Cooper: Are you still surprised at how the camera's being used? Nick Woodman: Oh, absolutely-- Nick Woodman: I always think of-- James Trosha teenager in the U.
K.
Trosh, a film student, attached a GoPro and a toy robot to a weather balloon and then let it go.
It rose 95,000 feet to the edge of space.
Nick Woodman: I remember seeing it for the first time on YouTube and just having my mind blown.
I mean, we had never thought of using a GoPro like that.
And I remember just saying, "That's what I'm talking about!" Woodman was 26 when he started GoPro in 2002.
He was a young entrepreneur with one failure already under his belt: an online gaming venture.
Anderson Cooper: It was a tech startup? Nick Woodman: Yeah.
FunBug.
com-- I started it when I was 24.
Raised $4 million of other people's money and lost it all two years later.
Because of that, he decided to finance GoPro himself with $260,000 in savings and money borrowed from family.
The first GoPro was a waterproof film camera attached to a wrist strap.
Woodman sold them to California surf shops out of his van.
Before long, he created a digital video camera that was a fraction of the size.
Woodman sold enough of them that he could afford to take lessons to learn how to drive a race car.
That's when he realized what the camera could become.
Nick Woodman: They-- wanted to rent me a camera to put on the car for 100 bucks for a half-hour session.
And I thought, "Well, that's crazy.
I've got a wrist camera in my car, my GoPro that shoots video.
I'll just strap it to the roll bar.
And everybody else in the school gathered around me and asked me, "Hey, where did you get that?" And I remember turning to the fellow that asked me and I said, "Dude, I made that.
" And I went out and I did my practice session in the race car, came back and looked at the footage and, "Wow.
" The light bulb went off and I realized GoPro needs to go from being a wrist camera company to being, you know, the everything camera company.
GoPros are now everywhere.
People use them to turn family home videos into images even strangers might enjoy watching.
Mount the camera on a stick, and a game of fetch with your dog, takes on a whole new focus.
Capturing action sports remains the camera's biggest selling point, and GoPro sponsors athletes as a way of promoting its brand.
Daredevil Jeb Corliss travels the globe to fly in a wingsuit adorned with GoPros.
Here, he's rocketing along the Alps in Switzerland.
Corliss makes a good part of his living licensing the video.
GoPro also sponsors Kelly Slater, the biggest name in surfing who's won a record breaking have also pushed the boundaries of surfing photography.
Nick Woodman: Every surfer in the world dreams to ride the inside of a wave, a barrel, like Kelly Slater.
And Kelly can take his fans there by-- he puts a GoPro in his mouth while he paddles into the wave.
And as he pulls into the barrel, he takes the camera out of his mouth and holds it behind him, looks back and is traveling inside of this wave, having this incredible experience that before he was never able to share with anybody.
Its images like these that contribute to GoPro's bottom line.
Revenue has doubled every year.
Sales went from $350,000 in 2005 to over $500 million in 2012.
It's on track to double that this year.
Anderson Cooper: Do you worry about growing too fast? Nick Woodman: I don't worry about it anymore.
There was a time where-- when I should've been jumping up and down for joy at how well the business was going, I was actually terrified, and I understood for the first time what people mean when they say, "Success can kill a business that isn't ready for it.
" A prime example is the new model camera Woodman released in 2012.
Some customers complained their cameras suddenly stopped working.
GoPro had to scramble to fix the problem with software updates.
Nick Woodman: We launched a product before the software was fully, fully, fully mature.
And we didn't know it.
GoPros may be the perfect camera for a self-obsessed and selfie-obsessed generation.
Nick Woodman certainly likes to document practically everything he does.
Woodman with GoPro in his mouth: This is the way I use it all the time.
We tagged along with him on a surfing trip to Mexico.
His old van is long gone, replaced by his new private jet.
Woodman stands in aisle: "Show me what this thing can do!" Woodman was with old friends who helped him start GoPro and still work there.
The trip was for fun, but also to put the company's new cameras to the test.
Nick Woodman: If it doesn't work in the real world, and frankly, if it doesn't work in the surf, well, there's a good chance that we won't make it.
Unlike most cameras, GoPros are used by both amateurs and professionals alike.
At 60 Minutes, we use them to get shots that other cameras simply can't.
We've attached them to the ends of polo mallets, climbers clinging to the cliffs of Yosemite.
And taken them on dives in the Okavanga Delta to get up close with deadly Nile crocodiles.
Nick Woodman: You have the 60 Minutes of the world using the same camera that, you know-- snowboarding the half pipe.
Anderson Cooper: Do you worry, though, sometimes kids take it too far? Nick Woodman: You know, that's definitely a concern.
Thankfully, I think that humans' inherent desire to stay alive kicks in and GoPro isn't the first thing that's enabled people to see other people doing crazy things.
With so many GoPros in so many places, they're increasingly catching all manner of mishaps.
This GoPro was stolen by a seagull in the French city of Cannes, resulting in a genuine bird's eye view.
GoPros also capture more serious events.
In a now infamous incident in September, motorcyclists in New York tangled with the driver of an SUV.
A helmet-mounted GoPro captured the confrontation.
Beyond bad behavior, they're also recording some of the natural wonders of the world.
The Scripps Institute of Oceanography uses off-the-shelf GoPros in its high tech labs in Southern California.
Eric Terrill: We develop our own technology, but we're not technology snobs.
If there's a m-- off-the-shelf solution that will fit the bill for us, we're going to use it.
Scientist Eric Terrill mounts the $400 GoPro on a $350,000 ocean-going research torpedo to map coral reefs in high detail.
Anderson Cooper: You're seeing parts of the ocean and things in the ocean you'd never seen before? Eric Terrill: At the resolution that it's providing us and over long distances.
So, it's enabling us now to survey wide areas that we hadn't really been able to do beforehand.
In waters off the Pacific islands of Palau, Terrill's team uses the cameras to find the sunken wreckage of World War II planes.
They also send GoPros into the sky on small remote controlled drones [Anderson Cooper: That is amazing.
.]
to survey the cliffs near Scripps Institute in La Jolla.
The high resolution video is then turned into 3D models that will help track erosion over time.
Low cost drones are opening new horizons for Nick Woodman's company.
For under a thousand dollars, amateurs can get the kind of footage that was previously only possible with big budget professional productions.
Sometimes the images are so startling, it's hard to tell if they're from Hollywood's computerized reality or reality.
In August, 2012, Mark Peters and his friends were tuna fishing off California when they lowered a GoPro into the water to see what was down there.
Nick Woodman: And when he got home and loaded it on his computer to watch it, he was just totally blown away by what he saw.
Nick Woodman: And then the rest of the world was blown away by what he saw: these beautiful dolphins dancing.
And it looked like it was a professional production shoot, but it was just a fisherman on his way home.
GoPro turned the dolphin video into a commercial.
It has a team that scours YouTube and the web looking for amateur videos it can feature on TV or online.
This video of Charlie Ray Wick, learning how to walk and going airborne, became a commercial that ran during the Super Bowl.
The strategy is to take advantage of what might be GoPro's most effective sales force -- its own customers.
Anderson Cooper: You get new video all the time.
Nick Woodman: All the time.
Nick Woodman: So this is actually a video of a firefighter rescuing and resuscitating a kitten.
Anderson Cooper: And a video like that would very easily go viral around the world.
I mean-- Nick Woodman: Oh-- Oh, my God, yeah.
Anderson Cooper: And that's essentially a commercial for GoPro.
Nick Woodman: Essentially a commercial for GoPro.
It's a marketer's dream and it's all based off of authenticity, right.
It's our customers doing interesting things around the world.
And they're so stoked that they're able to finally self-document these things that they like to do and share it with people.
They're so stoked at how good they look in the video that when they share the video they often give us credit: My GoPro ski trip, my GoPro day at the park with my kids.
Anderson Cooper: You're the only CEO I've ever interviewed who has used the word "stoked.
" Nick Woodman: Like, 5 million times.
Anderson Cooper: It's about 5 million times, yes.
Nick Woodman: Well, you know, it's-- it's-- you've gotta stay true to who you are.
And I recognize that my approach to life and our-- now our company's approach to life is what has made GoPro what it is.
And so there's no reason to change that.
For those of us of a certain age, it's hard to believe that we're approaching the 50th anniversary of two defining but very different moments in American history: the assassination of President Kennedy half a century ago - and shortly after, the arrival of a British condition called Beatlemania that infected America.
Tonight, we'll hear from Henry Grossman, a freelance photographer whose camera captured the spirit of both the young president and the even younger rock stars plus a host of other faces that defined an era.
Some of his shots have been hidden away for 50 years, shown here for the first time on television.
Others you will recognize in a heartbeat.
to capture what was happening, what was going on.
I wasn't interrupting them and saying, "Oh, wait a minute, I gotta do that again.
" What is it seize the day, seize the moment? Henry Grossman: Smile.
Stay right there.
I like the light.
Over half a century ago, this picture changed Henry Grossman's life.
John F.
Kennedy, in Boston, where Grossman, a student, often photographed visiting VIPs.
Henry Grossman: This is taken the day he announced his candidacy for president.
I gave him a copy of this and he called it his eyes portrait.
He was very young.
And unknown.
Morley Safer: You were pretty young yourself.
Henry Grossman: I was about 22, 23.
Yeah.
The encounter compelled Grossman to hit the road, tagging along on the Kennedy campaign.
Henry Grossman: The crowd wanted him.
Liked him so much.
Morley Safer: Why did you decide that you wanted to follow JFK around? Henry Grossman: Personality was great.
And it was an opportunity to photograph a man who could become president.
Wasn't that fun? A famous image taken on Wall Street.
Morley Safer: They're looking up at what, people in windows was that it? Henry Grossman: People in windows.
They were beginning to throw confetti.
Another captured the savvy candidate posing with the Statue of Liberty.
Morley Safer: You were clearly a fan of his.
Henry Grossman: I was a fan of his, yes.
Morley Safer: Did you go to great pains to make him look good? Henry Grossman: You didn't have to try to make him look good.
Henry Grossman: There I was.
After the election, he was a familiar face in the White House.
Henry Grossman: The president is just signing a picture here for me.
We called him Jack all during the campaign and even when he into the White House except not when people were around, because then it was Mr.
President.
This one I like because it looks like I'm an advisor to the president.
And, uh, there's Jack with a bandage on his face because he bumped his head when he picked up a toy or something that Caroline had dropped.
Another famous image.
A windblown JFK.
It was published around the world.
Henry Grossman: I gave Jackie, a copy of that picture 'cause I loved it.
And a friend of mine said she looked at it and she said, "I think it's my favorite picture of Jack.
" Which was very inspiring, very nice.
Morley Safer: What was your reaction when you heard he was killed? Henry Grossman: Oh, God.
Sorrow.
How deeply can sorrow be felt for the loss of what would have been, what could have been, what might have been, what was? This was the front page of the New York Times the day after John Kennedy died.
The portraits of the fallen president - and his successor - both taken by Henry Grossman.
He later photographed the former First Lady at home in New York.
Henry Grossman: She was very photogenic, very quiet.
She could be sharp and strong.
Morley Safer: Tough.
Henry Grossman: Yes, lovely but tough.
And he traveled with Robert Kennedy during his presidential campaign.
Shortly before RFK was killed Grossman caught him catnapping during an exhausting day on the road.
Henry Grossman: It's an eerie picture to me.
Knowing what happened to him and having known what happened to his brother, my God.
Like many talented photographers, Grossman also had great luck being in the right place at the right time.
This theater in New York, for instance.
Today it's home to David Letterman.
Fifty years ago, a revolution took place here.
Henry Grossman: I lived a block away and so I walked over here with no anticipation, no understanding of what I would find.
There's an English word, "gobsmacked.
" I was gobsmacked.
[Beatles: Ah.
Ah, Ah, Ahhhhhhh -- - Shake it up baby now, (shake it up baby), twist and shout, (twist and shout).
.]
When Ed Sullivan introduced the Beatles to America, 73 million viewers were watching.
Henry Grossman was there, shooting for Time Magazine.
Henry Grossman: I guess I shot a first couple of pictures of the guys on stage and what they were doing.
We talked onstage at the very spot the music was made.
Henry Grossman: And then when I looked around and I could see the hysteria on some of these girls, tears streaming down their faces.
"Wow, look at that.
Look at that.
Look at that.
" [Beatles: She wouldn't dance with another (ooooh) since I saw her standing there.
.]
Morley Safer: It's fascinating that these kids probably couldn't hear the band for their own voices, right? Henry Grossman: I don't think it mattered.
Grossman figured that first glimpse of the band was probably his last.
Morley Safer: Did you feel or did they feel that this was just a flash in the pan? Henry Grossman: I'm afraid they did.
I was speaking with George in London at his house once.
He said "Henry, who knows how long this is gonna last?" And that was 50 years ago, before they became icons of the century.
They would meet again.
But for the moment, Grossman moved on, photographing, in just a few weeks time, the wedding of Elizabeth Taylor and Richard Burton in Montreal.
Barbra Streisand opening on Broadway in "Funny Girl.
" And the Supremes, the other pop music phenomenon of 1964.
Henry Grossman: Huh, let's see what these are.
Oh my gosh! His archive -- if you can call it that -- is an archaeological dig into our collective past.
Morley Safer: Why don't you just open a drawer at random and pull something out and see what surprises we'll find here.
Henry Grossman: Oh, ho ho ho ho.
March on Washington.
Oh, this is Eleanor Roosevelt and Mandela.
A hodge-podge of history.
Henry Grossman: Nixon.
Morley Safer: He looks pretty happy.
Morley Safer: Are you surprising yourself as you go through these? Henry Grossman: Endlessly.
Endlessly.
There's David Ben-Gurion, Israel's founding father, both fore - and aft.
Henry Grossman: This was the shot I shot in back.
Morley Safer: Oh, that's wonderful.
Looks like a flying saucer or something.
Henry Grossman: Yes, Saturn.
There's George Hamilton as Dracula.
Writer Kurt Vonnegut.
Jimi Hendrix, eating his guitar.
The man who would be king - briefly - the duke of Windsor and his American wife.
Henry Grossman: One of my favorite pictures.
This is Cassius Clay, winner, after a knockout fight.
Morley Safer: Before he was Muhammad Ali.
Henry Grossman: That was the celebration.
There was a strawberry shortcake in front of him and he was too tired and beat up to really appreciate it.
Beautiful women became a specialty.
Jacqueline Bisset.
Julie Christie.
Mia Farrow.
Meryl Streep.
Morley Safer: You really hung out with the babes a lot, didn't you? Henry Grossman: Oh, do you blame me? Many of the performers he photographed have gone on to that great red carpet in the sky.
Leonard Bernstein, the conductor and composer who gave us "West Side Story.
" Maria Callas, in her farewell Carnegie Hall recital.
Another operatic superstar, Luciano Pavarotti, in a photo that could be a Renaissance painting.
And Marilyn Monroe, the night she sang Happy Birthday to JFK.
Henry Grossman: Wow.
George Harrison and his Aston Martin.
But he's best known for his Beatles pictures, and for good reason.
A recent limited edition book containing hundreds of previously unseen images sold out quickly, at $500 pop.
Henry Grossman: This is George Harrison in Nassau.
He had obviously just gotten up.
And there was a look to him that was so simple and vulnerable, but look how open and honest he is.
Morley Safer: And so ridiculously young.
Henry Grossman: Yes.
[From the film "Help!": There he is.
Hey, I tried to warn him.
.]
He got to know them really well in the Bahamas, when they made the film "Help!" Grossman tagged along, shooting for LIFE Magazine.
It was a low key affair, a far cry from the pandemonium of the Sullivan show a year earlier.
The photographer and the band hit it off.
Henry Grossman: I was a fly on the wall, watching and being a friend.
They talked.
They joked.
Each morning, Grossman served as the band's human alarm clock.
Morley Safer: Your wakeup call to the Beatles was what? Henry Grossman: Oh, what a beautiful morning, oh what a beautiful day, I've got a wonderful feeling everything's going my way.
And it did.
Henry Grossman: This is a picture that Ringo took.
John wanted to make my hair long and combed like a Beatle which he tried to do.
This is terrific fun for me.
As filming took them from Nassau to Austria to London in early 1965, he met the four young women who were the envy of teenage girls everywhere.
Ringo and his wife Maureen, newlyweds.
John and his wife, Cynthia.
Paul and girlfriend Jane Asher.
Pattie Boyd, George's girlfriend and wife to be.
Soon, he was welcome in their homes in London.
Life went on around him.
Ringo and son Jason, a chip off the old block.
John and Cynthia and Julian, two years old.
Morley Safer: Everything looks very conventional, with wives and girlfriends.
Henry Grossman: That was a surprise to me, too.
John's house looked very much like a straight, middle-class American house.
George and John were strumming guitars and playing while little baby Julian was watching.
And the wives were in the living room talking about drapes and curtains.
Grossman was there for the band's famous audience with the Indian guru the Maharishi.
The summer of love, 1967.
Henry Grossman: I think they were genuinely hooked on him and what they might become through him.
I don't know how long it lasted.
He took rare pictures of others in the Beatles family.
Paul and his father Jim.
Brian Epstein, the band's brilliant manager.
George Martin, the legendary record producer.
Henry Grossman: George Martin was the kind of guy that was reading poetry in between recording the Beatles.
By 1970, the ending - the unraveling of the band -- Grossman had moved on to other assignments, other interests.
Parting, though, with the greatest respect.
Henry Grossman: I loved THEM.
They were terrific guys.
They knew what they were doing, they knew who they were very well.
They did not try to put on somebody that they're not.
What was there and what you saw was what you got.
Looking at Henry Grossman's pictures, there's a sense of both joy and melancholy -- of things past and times lost.
But as the novelist Robert Goddard wrote: photographs don't distinguish between the living and the dead.
The pictures are always there.
And so are the people in them.
Frozen in the best time of their lives.