captioning funded by cbs and ford. we go further, so you can. >> he's got his hands up there for her now. >> last september in tulsa, oklahoma, a white police officer shot a black man who appears to have his hands up. videos of similar shootings aren't rare. but it is rare to hear from the officer who pulled the trigger before a jury does. >> my incident is not a racist incident. i am not racist. race had no factor in what happened. >> race had everything to do with her pulling the trigger that day. >> at first glance, you might mistake him for the bouncer at a leather bar, a professional wrestler, or the front man for a

village people tribute band. but here in paris at a reception for the biennale, one of the oldest art and antique fairs in the world... >> hi! how are you, madame reza? >> ...peter marino is instantly recognized... >> i'm a big fan of yours. >> oh, thank you. thank you, madam. >> and actively courted by people you might think would run the other way. >> master! >> would you think you're talking to a bright architect looking at a guy like me? >> i'm steve kroft. >> i'm lesley stahl. >> i'm bill whitaker. >> i'm anderson cooper. >> i'm scott pelley. those stories, tonight on "60 minutes." ♪ ♪ ♪

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>> whitaker: last september in tulsa, oklahoma a brief encounter between a black man, terence crutcher, and a white police officer, betty shelby, ended with terence crutcher's death. he was shot by officer shelby, who goes on trial next month for manslaughter. she faces four years to life in prison. the shooting was caught on videotape and inflamed the debate about race and policing that's been roiling the nation since ferguson. it's very likely you have seen video of similar police shootings before, but it's very rare to hear from the officer who pulled the trigger before a jury does. tonight, betty shelby tells us why she shot and killed an unarmed black man, and why she says almost any police officer in her situation would have done the same. you remember pulling the trigger?

>> betty shelby: i do. it's like slow motion of me bringing my gun up, my finger coming in and then letting off. and he stopped and then he just slowly fell to the ground. >> whitaker: the shooting took place at dusk on this two-lane road in north tulsa, in a predominantly african american area. police cameras captured the climax of the encounter between 42-year-old police officer betty shelby and 40-year-old terence crutcher. that's crutcher in the white shirt, walking with his hands up. shelby, a ten-year veteran of law enforcement, is right behind him with her gun drawn. just two minutes after they came face to face on the road, shelby fired her gun. it's hard to see the actual shot

on videotape but, from the chopper, you can see crutcher fall to the ground from the shot to his side. >> betty shelby: shots fired! >> police dispatch: adam 331, we have shots fired. we have one suspect down. >> whitaker: so tell me what i'm not seeing in the video. up until the time of the shooting, it does appear that he's got his hands in the air? >> betty shelby: he does have his hands in the air. >> whitaker: but shelby says the video doesn't tell the whole story. it all started ten minutes earlier. she was on her way to a domestic violence call when she says she saw a man she later would learn was terence crutcher standing in the road. she noticed his size-- about six feet, 240 pounds-- and his demeanor. >> betty shelby: his hands are just dropped beside him. his chin is resting on his chest, and he's standing there motionless, and i thought,

"hmmm, i wonder if he's on p.c.p." >> whitaker: why did that cross your mind first? >> betty shelby: because it was an odd behavior. zombie-like, i... i... it's the best i can... >> whitaker: zombie-like? >> betty shelby: zombie-like. >> whitaker: did you consider him a threat at that time? >> betty shelby: no, not at that time. >> whitaker: so shelby drove past him and continued on to her call. about 500 feet beyond where she first saw crutcher, she came upon an abandoned s.u.v. here in the middle of the road. she didn't activate her dashboard camera because she thought this was just a broken down vehicle. but when she got out of her patrol car, she noticed the motor of the s.u.v. was running. >> betty shelby: i work in a high-crime area where every day we get calls of shots fired. i don't think this is just an abandoned vehicle, so i walk on up to the driver's side. i glance in, i don't see anyone, and i notice the windows are down.

>> whitaker: did you see any weapons? >> betty shelby: i wasn't looking for any. i was glancing to see if there was someone hurt. >> whitaker: then she says she noticed the man she had seen just moments before walking toward her and the abandoned vehicle. >> betty shelby: and i say, "hey, man, is this your vehicle?" and he mumbles something, and i can't understand him. and he starts putting his hands in his pockets. i say, "hey, man, take your hands out of your pockets. i'm trying to find out, is this your vehicle?" and when i tell him to take his hands out of his pockets, he just immediately puts them in the air. >> whitaker: so what's going through your mind? >> betty shelby: well, what's going through my mind is what i've experienced before. i've encountered people putting their hands in their pockets, and i find a loaded gun in their pocket. >> whitaker: none of the early

encounter was recorded on video, but shelby says her training taught her that people on p.c.p. could turn violent. and she says crutcher kept reaching into his pocket. >> betty shelby: that's when i get on the radio and say, "i've got a subject that's not showing me his hands." and it was at that point that i drew my weapon in a ready position. it would just be a motion like this if you need to. >> whitaker: was he being belligerent? >> betty shelby: no. >> whitaker: was he showing any aggression? >> betty shelby: no. >> whitaker: is it possible that you saw him as more dangerous because he was a large black man? >> betty shelby: no. what i based everything on was his actions, his behaviors. race had nothing to do with my decision making.

>> whitaker: shelby says crutcher kept ignoring her commands, kept walking toward the s.u.v. even though she had drawn her gun and had ordered him to get on his knees. >> betty shelby: and he's not doing it. i'm hollering at him, "stop, stop now," and he has now put his hands back up in the air. and he's looking at his vehicle, back at me. >> whitaker: and you're thinking? >> betty shelby: i'm thinking, he's calculating how he can get to his vehicle to get whatever weapon it is that he's going to get because he didn't find it in his pocket. >> officer tyler turnbough: i was literally a quarter-mile away, so i got in the car and drove to the scene quickly. >> whitaker: officer tyler turnbough responded to officer shelby's radio call. his siren was on so his dashboard camera was running. the ground level video of the shooting was recorded from his car. so what'd you see when you got there? >> turnbough: the first thing i

saw when i got there was mr. crutcher walking away with his hands up, betty has him at gunpoint. and i got out of the car, and i can hear her giving him commands. "stop, get on the ground, don't go back to your car." >> all right, betty jo, where you at? >> whitaker: at the same time, a police helicopter swooped in with two officers on board-- a pilot and a spotter who that day happened to be officer betty shelby's husband. >> he's got his hands up there for her now. >> whitaker: david shelby says he could see his wife had a weapon drawn. the pilot saw something else. >> pilot: that looks like a bad dude, too. >> whitaker: did you think he looked like a "bad dude"? >> david shelby: what i saw was an individual that was being non-compliant and apparently and obviously refusing to obey the commands of the officer. >> whitaker: as officer turnbough ran to assist, he saw that betty shelby had drawn her gun. so he grabbed his taser. >> turnbough: if the roles had been reversed and she had her taser out, then i would've had my gun out. >> whitaker: did you assess the situation as being dangerous?

>> turnbough: yes. it made the hair stand up on the back of my neck. i don't know what this guy's doing. why is he... why is he walking away from her? what are his intentions? why doesn't he just stop? >> whitaker: so we see his arms are up, and you're behind him? >> betty shelby: yes. >> whitaker: we asked betty shelby to look at the video and show us what she saw before the fatal shot. >> betty shelby: i'm feeling that his intent is to do me harm, and i keep thinking, "don't do this, please don't do this, don't make this happen." and then, right there, he's looking back at me. that's what we call "targeting." so he's getting my position, my last known location to retrieve and then shoot. >> whitaker: you think he's sizing up the situation to see where you are, how close? if he were to grab a weapon, he would know exactly where to turn to shoot-- that's what you're thinking? >> betty shelby: that... yes. >> whitaker: it's unclear what happened in the final moments of crutcher's life. officers shelby and turnbough were in front of the dashboard

camera, and the helicopter was too far away. but betty shelby says what's hard to see on the videotape is what she saw. she says crutcher dropped his arms and reached into the car. >> betty shelby: his shoulders drop, his arm drops, and he's reaching in. and it's fast. just that would tell any officer that that man's going for a weapon. >> whitaker: you see this on the video? >> betty shelby: yes. >> whitaker: that's what you say is mr. crutcher reaching into the car? >> betty shelby: yes. i say with a louder, more intense voice, "stop. stop! stop!" and he didn't, and that's when i took aim. shots fired! >> tiffany crutcher: i don't know what officer shelby was thinking when she pulled that trigger. >> whitaker: tiffany crutcher is terence crutcher's twin sister.

she says the tape shows her brother was not being aggressive, not being threatening. there is a frame that seems to show that his hands were lowered, and that's what she says alarmed her and made her fear for her life. >> crutcher: of course, she's saying everything that she's supposed to say to defend herself. what we saw on that video is what my dad always taught us to do if we were pulled over by a police officer: put your hands in the air and put your hands on the car. and my brother did what my father taught us. >> whitaker: was this a case of "hands up, don't shoot"? >> crutcher: absolutely. it absolutely was. >> whitaker: but officer shelby says it was a case of a non- compliant subject who she perceived was threatening her life. that's why she says she pulled the trigger. officer turnbough says he saw the same threat and fired his

taser at the same moment. it was the first time betty shelby had discharged her gun in the line of duty. if things had worked out differently, he would go before a judge, have his day in court. >> betty shelby: yes. >> whitaker: but as it turns out, you're judge, jury and executioner on the spot. >> betty shelby: no. i saw a threat, and i used the force i felt necessary to stop a threat. >> whitaker: do you think, "i could shoot him in the leg, i could shoot him in the foot"? is there nothing else you could've done? >> betty shelby: no. and i'm not trained to shoot someone in the foot. we don't train to be cowboys and to be like what they show on the movies. >> whitaker: terence crutcher lay bleeding in the street for about two minutes before officers moved in to check him

for weapons and administer first aid. he was pronounced dead at the hospital. a vial of p.c.p. was found in the driver's side door pocket, but police found no weapons on his body or in his car. do you have any regrets about this? >> betty shelby: i have sorrow that this happened, that this man lost his life. but he caused the situation to occur, so, in the end, he caused his own. >> whitaker: he caused his death? >> betty shelby: yes. >> whitaker: officer shelby says that your brother's actions caused his own death. what do you say to that? >> crutcher: my brother's dead because she didn't pause. and because she didn't pause, my family, we've had to pause. we've had to stop. we've had to lay down every single night with tears in our eyes. there was absolutely no

justification whatsoever, with all the backup, for officer shelby to pull that trigger. no justification whatsoever. >> betty shelby: if i wait to find out if he had a gun or not, i could very well be dead. there's something that we always say: "i'd rather be tried by 12 than carried by six." >> whitaker: but as it turned out, he did not have a gun. >> betty shelby: no, he did not. >> whitaker: and because of your action, a man is dead. >> betty shelby: yes. >> whitaker: how do you come to terms with that? >> betty shelby: it's very difficult. >> whitaker: still? >> betty shelby: yes. i never wanted to be in that spot. his actions dictated my actions.

>> whitaker: you can take your time. >> betty shelby: i never wanted to kill anyone. >> whitaker: betty shelby says she acted out of fear for her life, but many in tulsa's black community say her fears were unfounded and influenced by race. that part of the story when we come back. (de♪p breath) (phone ringing) they'll call back. no one knows your ford better than ford and ford service. right now, during the big tire event, get a $140 rebate by mail,

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>> whitaker: after tulsa police officer betty shelby shot and

killed terence crutcher on a two-lane road last september, video of the incident ricocheted around the country. it's unsettling and, at the moment the shot is fired, it's unclear. where some may see a threatening and non-compliant subject, others may see a non-aggressive man shot with his hands up. how 12 jurors see it when the trial begins in may will determine betty shelby's fate. black tulsans tell us they'll be watching. it's a tale they say they have seen too many times before. there are people in black communities all across the united states who think that white officers overreact when it comes to dealing with black men in general, and they view this through that lens. what do you say to those folks? >> betty shelby: my incident is not a racist incident. i am not racist. race had no factor in what happened. >> ray owens: race had

everything to do with her pulling the trigger that day. >> whitaker: ray owens has been pastor of metropolitan baptist church, tulsa's largest predominantly black congregation, for 11 years. pastor owens saw police bias in the video and heard it in the words of the pilot. >> pilot: that looks like a bad dude, too. >> owens: i think the statement represents the same bias against african american males that caused betty shelby to pull the trigger. >> whitaker: what do you mean? >> owens: betty shelby very likely viewed terence crutcher as a bad dude. she a racist? does she, you know, have some ill will toward black people? i doubt it. but if she is like so many people in our nation, she assumes too quickly that a black male, especially out on the streets at night, is a threat

and not a citizen; is a suspect and not a decent human being. >> whitaker: you don't think a white citizen of tulsa would have been treated the same way? >> owens: i don't think that young white male would be dead today. >> whitaker: these are the final moments of terence crutcher's life. you can see him here, walking. his hands are up. officer shelby says she thought he was walking back to his car to retrieve a gun. when he got to the driver's side window, she says he reached in, and she fired. it turned out crutcher did not have a weapon. >> tiffany crutcher: nobody went to check on him. he laid there. they let him lay there like an animal. >> whitaker: terence crutcher's twin sister, tiffany, says her brother's death fits a tragic narrative of police shooting unarmed black men. >> crutcher: i saw trayvon

martin, i saw mike brown, i saw philando castile. you know, i saw tamir rice. but never in a thousand years would my family, would we have thought that we would be on their side of it. and my brother now, according to social media, is another hashtag. >> whitaker: who was he? >> crutcher: he would be deemed in our household the gentle giant. terence was laid back, calm, cool. gospel music was his love. ( singing ) ( singing ) >> whitaker: his family says terence was a devoted father of four young children, but they admit he struggled with drug use. he spent four years in prison for selling five grams of crack cocaine. officer shelby didn't know any of this when she encountered him

on that road, but she says she did suspect he was on drugs. his autopsy showed he had p.c.p. in his system. >> crutcher: maybe he needed some help. yes, he needed some help. but he ended up with a fatal gunshot wound to the chest. i've had people tweet and say, "your brother deserved to die. your brother, you know, is a thug. your brother should've complied, or he would still be alive." you know, "why didn't he do what the officer asked him to do?" >> whitaker: what do you say to that question that he should've complied? >> crutcher: you know, why did she want him to comply? i'm... i... i'm still curious. what crime was he committing? why were you on the scene? >> whitaker: she noticed a car in the middle of the road. >> crutcher: so she wasn't called to the scene because terence was committing a crime; she just noticed a car in the middle of the road, and the outcome was my brother was

murdered. wow. >> whitaker: tulsa leaders feared many citizens would have the same reaction. dewey bartlett was mayor at the time. he remembers the call he got from police chief chuck jordan. >> bartlett: he said that there was a shooting, and it could've been one of those situations where they had their hands in the air. >> whitaker: this is the police chief talking to you shortly after getting to the scene? >> bartlett: yes. at that point, i went, "oh boy, this is not good." >> whitaker: were you concerned that this might trigger civil unrest? >> bartlett: oh sure, sure, because we'd seen it before several times when this type of... of event happens, when it's captured on video. >> whitaker: four days after the crutcher shooting... >> he's not going to do anything to you guys. >> whitaker: ...police in charlotte shot a black man. that city erupted, igniting fears in tulsa that this same thing could happen. so the mayor and police chief

called pastor owens and other religious and community leaders together to show them the video and to help brace the city for the storm they feared was coming. what was the mood in the room? what was the reaction to the video? >> bartlett: when it showed the gentleman shot and falling down, there was an audible gasp. >> whitaker: a gasp. >> bartlett: absolutely. it was very difficult to watch. >> owens: the gasp actually filled the room. we couldn't believe it. >> whitaker: was your reaction the general reaction of the people in the room? >> owens: oh, very much so. we were all really angry. >> whitaker: the video added to already tense relations between tulsa police and the black community. >> hands up! don't shoot! >> owens: there's a strong current of an "us or them" mentality. >> whitaker: really? >> owens: i do hear that, especially from young men,

african american men, who will still tell me, "i'm afraid when a police officer comes up behind me or drives behind me." that's a problem. >> whitaker: a long-standing problem in tulsa. in 1921, this city saw the worst racial violence in american history. it started when an armed white mob gathered to lynch a black man accused of assaulting a white woman. as many as 300 black tulsans were killed and an estimated 10,000 left homeless. time has not healed all wounds. the mayor told us he thought the best response to the crutcher shooting was complete transparency. the police chief rushed to release the video to the public. he also released betty shelby's name. >> jordan: i want to assure our community, and i want to assure all of you and people across the nation who are going to be looking at this, we will achieve justice. period. >> whitaker: and they asked black pastors to appeal for peace.

>> rodney goss: i think i reserve the right to be angry and upset at being a black man in an untimely time as this. >> whitaker: more than 1,000 people of all races came to a vigil at metropolitan baptist church. >> owens: it was our attempt to give people a voice, a place to say, "i'm mad, i'm hurting, i'm tired of this, no more." and that was the same sentiment that i think was in the minds and hearts of the people who were breaking glass windows in charlotte. they were saying, "i'm mad." >> whitaker: in tulsa, there were no broken windows, no violence at all. six days after the shooting, district attorney steve kunzweiler filed charges against betty shelby. he accused her of overreacting when she shot terence crutcher.

the charges were filed before the police investigation of the shooting was complete. >> i've never been so scared. >> whitaker: the lead detective told us he would have found shelby's actions justified. shelby was placed on unpaid leave. when her name was made public, she says she felt as if the whole town had turned on her. >> and we're telling them to fire betty! fire betty! fire betty! >> whitaker: officer shelby believes she was sacrificed to keep the peace in tulsa. >> betty shelby: my situation was no different than-- i don't know whether i should say this-- than a lynch mob coming after me. and i had those very threats. so much that... >> whitaker: you've been threatened? >> betty shelby: yes. >> whitaker: death threats? >> betty shelby: yes. i had to leave my home. i had to grab up my family and leave, and go to a safe place.

>> whitaker: betty shelby told us she became a police officer to help people, and she wants to get back to the job she loves. >> you going to go after some bad guys? >> whitaker: while she awaits trial, she finds comfort playing with her grandson. she faces four years to life for the killing of terence crutcher. betty shelby's husband, officer david shelby, recorded the video from the air. >> shots fired! >> whitaker: however you perceive this video, it's an american tragedy. >> david shelby: to some extent, i think, well, there were two victims that day. i think terence crutcher and betty shelby. >> whitaker: and betty's a victim of what? >> david shelby: the social and political climate in our country right now. it's almost like there is a war on police, and i think that that's what's happened to betty. >> crutcher: we need our men and women in blue. but at the end of the day, they're not warriors. they're supposed to be our

guardians. >> whitaker: she believes there was a rush to judgment? >> crutcher: the video showed everything. it doesn't have a political affiliation. it's not red, it's not blue. it's not black, it's not white. it is what it is. and what we saw was my brother with his hands up, and he was tased and shot simultaneously. >> whitaker: officer shelby was charged with manslaughter. are you satisfied with those charges? >> crutcher: i am. i don't believe she woke up that morning and said, "i'm going to go and kill terence crutcher." i believe that she choked, and she pulled the trigger, and she killed him. >> whitaker: overreacted? >> crutcher: absolutely.

>> whitaker: was terence crutcher's an avoidable death? >> betty shelby: yes. >> whitaker: did this have to play out the way it did? >> betty shelby: no. >> bill whitaker: what would've changed things? >> betty shelby: if he would've complied, if he would have communicated with me, if he would've just done as i asked him to do, we would not be here. you and i would never have met, and no one would ever know my name. >> sift through additional evidence in this case. >> 9-1-1 police, fire, medical. >> including 9-1-1 calls at 60minutesovertime.com, sponsored by lyrica. gia, i was a doer. i was active. then the chronic, widespread pain drained my energy. my doctor said moving more

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>> kroft: over the years, we've done stories on all sorts of people, but to our knowledge we have never done one on a late middle-aged man who dresses in biker gear with visible tattoos and sterling silver skull rings. and certainly not one who also happens to be fluent in french and advanced mathematics. no, peter marino is one-of-a- kind.

if you follow the worlds of art, architecture and high fashion, you probably know he is a serious player in all of them; a tastemaker for some of the richest, most sophisticated people in the world-- many of whom would agree that marino's appearance is actually one of the least interesting things about him. at first glance, you might mistake him for the bouncer at a leather bar, a professional wrestler or the front man for a village people tribute band. but here in paris, at a reception for the biennale, one of the oldest art and antique fairs in the world... >> peter marino: hi! how are you, madame reza? >> kroft: ...peter marino is instantly recognized... >> woman: i'm a big fan of yours. >> marino: oh, thank you. thank you, madam. >> kroft: ...and actively courted by people you might think would run the other way. >> man: master! >> kroft: but behind the threatening, "keep your distance" faccçade... >> marino: ( speaking in french ) >> reporter: ...is an amusing,

ironic, highly accomplished artist and businessman with a sensitive soul. his talents are demonstrated in the beauty and breadth of his design work and architecture, and contradict his carefully considered public image of a beast on a motorcycle. people make first judgments about people based on their appearance. there's an old saying, "the clothes make the man." >> marino: how about the older statement, "don't judge a book by its cover"? >> kroft: but you want people to judge you by this look. this is your look. >> marino: absolutely not. it's a decoy. >> kroft: a decoy. >> marino: sure. would you think you're talking to a bright architect looking at a guy like me? >> kroft: do you still know calculus and trig and all of that stuff? >> marino: had to. had to get my license. and you've got to keep your license up to date. you have to take 18 credits a year. that's the hardest part. you've got to keep taking courses. dude, they don't let you forget it. yeah. ighkroft: the arts and fashion tolerance for eccentricity. take tom wolfe and his white

suits, karl lagerfeld's dark glasses and fingerless gloves, and lady gaga. >> on your left! >> kroft: there is no question that marino's signature look has made him one of a handful of living architects actually recognized by the media. one of your good friends said that you like the shock value. like, you like the fact that people say, "what's with him?" >> marino: i like more the fact that i like to think out of the box. thinking out of the box goes along with dressing out of the box and living out of the box. if you want to come up with a really originally design idea and you want to capture a whole new design direction, perhaps the best way to arrive at that is not by acting and thinking and doing like everybody else. that's all. >> kroft: if the getup was simply a publicity gimmick, marino would have disappeared decades ago. his work would not be regularly featured in "architectural digest" and other glossy magazines. and the firm that bears his name

would not be occupying two floors and 16,000 square feet of some of the most expensive office space in new york which is furnished with museum quality artwork all from marino's private collection-- paintings and sculpture, modern art and antiquities, all juxtaposed in perfect harmony. this is quite a room. >> marino: yeah. ( laughs ) >> kroft: quite a reception area. what is this piece? >> marino: this is 2003, anselm kiefer. >> kroft: and this? >> marino: this is gandharan. third century, a.d. >> kroft: gandharan? >> marino: yeah. it's from gandhara, and it's the region just on the silk road where the chinese culture and the indian culture just met with the greek culture. >> kroft: art is at the center of marino's universe, and his knowledge of it is encyclopedic. he not only collects it, he curates it and commissions it for his projects. it covers nearly every inch of wall space and is here, he says, not to impress his clients but to inspire the staff of 150

designers and architects with whom he turns out between 50 and 100 projects a year. >> marino: design-wise, i look at everything. if i don't personally design it, i'll review it. i'm kind of creative director of the firm. >> kroft: you're a bit of a control freak. >> marino: you'd have to ask the staff for that. ( laughs ) >> kroft: bordering on the tyrannical. >> marino: you'd have to confirm that with the staff. ( laughs ) >> kroft: do you see yourself as a tyrannical boss? >> marino: no. i only care about the work. and i'm not tyrannical personally in any way, shape or form, but i am absolutely passionate about the quality of the work. >> kroft: and so are the clients that can afford him, who mostly come from the world's wealthiest 0.001%, encompassing the glitterati and the emirati. >> marino: this is a residential project we're building on the top of los angeles. it's a large site assembled from over seven homes. and this is in construction. >> kroft: and what is this structure? >> marino: this is for the

subterranean parking. >> kroft: and this is a private home? >> marino: this is a private home. it's... >> kroft: and you can you tell us anything about the owner? >> marino: no. ( laughs ) >> kroft: it's marino's default answer. he won't comment about his clients, which have reportedly included the likes of multi- billionaires david geffen and david koch as well as gisele buuündchen and tom brady. this home in milan, we're told, was done for giorgio armani. >> marino: i like my clients. all of my clients say, "peter, you're talented, but your best virtue is your discretion." they really don't want to be talked about. >> kroft: this hamptons' beach house was designed for a young hedge fund manager and his wife, and this ski chalet in lebanon with ocean views for a swiss banker. but for every private client marino won't speak about, somewhere in the world he is unveiling a project that is the talk of the town. >> wow! >> kroft: like boontheshop, a

multi-brand luxury shopping center that takes up two downtown blocks in seoul, south korea. no expense was spared. >> marino: it's all white greek marble. these are trapezoids, like they fell to space. it's an interesting building because the entire inside is rough concrete. >> kroft: he says it was built for the family that controls samsung. i mean, it's fair to say you work with some of the richest people in the world, right? >> marino: yes. >> kroft: do they need to be treated a different way? >> marino: if they need to be treated a different way, no one's told me. ( laughs ) i... i remember... ( laughs ) ...when i was meeting certain royal families, if i had to behave a certain way. like, "you better tell me what i'm supposed to say and do." ( laughs ) they went, "the way you look, it doesn't really matter. just be yourself." and i went, "okay, okay." >> kroft: those partnerships can produce some unusual optics. we watched this meeting with sidney toledano, the c.e.o. of

christian dior, who is one of marino's biggest clients and biggest fans. they have collaborated on dozens of dior boutiques all over the world. toledano is used to working with big egos and difficult people but says marino is not one of them. >> toledano: i never had the impression that he was complicated because he always finds the solution, and he's very professional. >> kroft: how important is he to your business? or how important has he been to your business? >> toledano: he has been key. don't tell him. ( laughs ) >> kroft: he understands dior. >> toledano: he understands dior. >> kroft: toledano sees marino's look as an artistic presentation of his personality. he doesn't even mind the fact that marino also works for most of his competitors. >> marino: this is a new building we'll be building for chanel. >> kroft: so you've got chanel up here. you've got... >> marino: louis vuitton. >> kroft: ...louis vuitton. who else? >> marino: dior, hublot, zegna. we do zegna world-wide. we do bulgari. we're opening a new one in london in december.

fendi, if you just saw the fendi on 57th and madison. >> kroft: for decades, marino has been the architect of choice for nearly all of the top fashion designers and luxury brands and is widely credited with re-imagining the use of retail space, moving away from boxy department stores and into elegant boutiques. his work lines the most conspicuous avenues and boulevards of the world. it's a third of his business. every store is unique, and each one distills the essence and the look of the company it was built for-- a sense of travel and luxury for louis vuitton, the timeless classic look for chanel. how did you get them to all come to you? >> marino: it's the old question, "oh, why do they all go to you?" steve, would you go to a knee doctor who had done two knee operations if you need an operation or one who had done 300 successfully? who would you go to? that's why they come to me. >> kroft: marino's work ethic

and personality are rooted in queens, the new york neighborhood where he was born 67 years ago, the only son in a middle-class italian family. in high school, he excelled in art and graduated from cornell university in 1971 with a degree in architecture. he learned the trade from the very best, serving apprenticeships with i.m. pei; and skidmore, owings & merrill. but he picked up the ways of the wealthy and the value of celebrity from another master, artist andy warhol, who always considered business one of the finer forms of art. he certainly knew how to get attention. >> marino: the blonde wig. dude, that was so good. the... the... ( laughs ) the blonde wig, that's pretty hard to beat. >> kroft: marino did some early work for warhol and hung out at his new york studio called "the factory," which was a magnet for music and movie stars, socialites and royalty. bob colacello was the editor of warhol's "interview" magazine when marino first walked through the door.

what was he like? >> colacello: he had little bow ties, and he was very properly dressed, you know. and he was funny. he was talented. you could see that right away. >> kroft: colacello, now a contributing editor at "vanity fair" magazine, and isabel rattazzi, a former model and longtime friend of marino, think he has changed very little from those ironic factory days of campbell soup cans and pop art parodies of fame. >> colacello: peter fed right into that. i mean, we were all on the same sort of wavelength, you know. >> kroft: tongue-in-cheek. >> colacello: tongue-in-cheek. a lot of what we were doing was very tongue-in-cheek. peter, i think, is still very tongue-in-cheek. >> rattazzi: totally. he's enjoying it. it's a way to have fun at other people's expenses sometimes. ( laughs ) i think peter deep down, more than anything, is an artist. he has an incredible sense of aesthetics. he loves beauty and anything, and art and music. >> kroft: it's on display at

marino's 12-acre estate where every summer there is a lavish party for friends to introduce young and up-and-coming classical musicians. it's hosted by peter and jane trapnell, his waspy wife of 33 years, a charming and accomplished costume designer who friends say is an essential part of the equation. >> marino: she's too smart to be interviewed. ( laughs ) >> kroft: but you've been married a long time? >> marino: 33 years, yeah. yeah, it's great. >> kroft: you don't look like the perfect couple, if you know what i mean. >> marino: ( laughs ) it's a good marriage because each of us is what we are, allows the other one to be themselves and appreciates each other for the right reason. you know, it's rare that you'll find two people who don't try to change the other person and let everyone be what they are. >> kroft: what's this? the only other constant in marino's life, as you may have

guessed, are motorcycles, his latest prominently displayed on the project board. >> marino: this is my super duke k.t.m. 1290. it's very fast. you're supposed to say, "does jane sit on the back?" ( laughs ) >> kroft: does jane sit on the back? ( laughs ) >> marino: absolutely not. she's in the back of a... of a car and driver with the two dogs. ( laughter ) >> kroft: marino finds cars claustrophobic. he has a half a dozen bikes, has ridden them all over the country and regularly uses them to commute between new york and his home on long island. it's his release and the core of his identity. alone on the road, where he can take in the air and the light and the space-- all part of living life outside the box. >> this cbs sports update is brought to you by the lincoln motor company. i'm adam zuker.

in the ncaa member's basketball final, gonzaga beat south carolina to become the first west coast conference school in the national title game since 1956. north carolina upended oregon and is a win away from its sixth national title. the champion will be crowned tomorrow night. coverage by gains at 8:30 eastern here on cbs. for more sports news, go to cbssports.com. you might not ever just stand there, looking at it. you may never even sit in the back seat. yeah, but maybe you should. ♪ (laughter) ♪ imy moderate to severeng crohn's disease. i didn't think there was anything else to talk about. but then i realized there was. so, i finally broke the silence with my doctor

about what i was experiencing. he said humira is for people like me who have tried other medications but still experience the symptoms of moderate to severe crohn's disease. in clinical studies, the majority of patients on humira saw significant symptom relief. and many achieved remission. humira can lower your ability to fight infections, including tuberculosis. serious, sometimes fatal infections and cancers, including lymphoma, have happened; as have blood, liver, and nervous system problems, serious allergic reactions, and new or worsening heart failure. before treatment, get tested for tb. tell your doctor if you've been to areas where certain fungal infections are common, and if you've had tb, hepatitis b, are prone to infections, or have flu-like symptoms or sores. don't start humira if you have an infection. if you're still just managing your symptoms, talk with your gastroenterologist about humira. with humira, remission is possible.

>> whitaker: in the mail this week, comments on "chess country." sharyn alfonsi reported how dr. jeff bulington brought chess to the school children of rural franklin county, mississippi.

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pg&e learned a tragic lesson we can never forget. this gas pipeline ruptured in san bruno. the explosion and fire killed eight people. pg&e was convicted of six felony charges including five violations of the u.s. pipeline safety act and obstructing an ntsb investigation. pg&e was fined, placed under an outside monitor, given five years of probation, and required to perform 10,000 hours of community service. we are deeply sorry. we failed our customers in san bruno. while an apology alone will never be enough, actions can make pg&e safer. and that's why we've replaced hundreds of miles of gas pipeline, adopted new leak detection technology that is one-thousand times more sensitive, and built a state-of-the-art gas operations center. we can never forget what happened in san bruno. that's why we're working every day to make pg&e the safest energy company in the nation.

captioning sponsored by cbs >> announcer: from the t-mobile arena, it's the a.c.m. awards. and now, performing a medley of number one hits, the nominees for entertainer of the year. kicking it off, jason aldean. ♪ you're a crack-of-dawn, monday-morning, coffee strong ♪ poured everything you got into a paycheck friday night ♪ you're a powerstroke diesel, backhoe-riding king of beers, eighteen-wheeler ♪ driving, living life in between the lines ♪ of clocking in and quitting time