>> from our studios in new york city, this is charlie rose. >> bradley cooper stars in and produced the new clint eastwood film "american sniper."

here's is the trailer for the film. >> i got a military-age male on a cell phone watching the convoy. >> maybe he is calling his old lady. >> he stepped off. >> hold on.

i got a woman and a kid 200 yards out moving toward the convoy. arms are not swinging. she is carrying something. she got a grenade. >> eyes on this. can you confirm? >> your call. >> they fried your funeral. >> bradley cooper also starring as joseph merrick in the production of "the elephant man." it was the role that inspired him to become an actor.

i spoke with him at the booth theater. here is that conversation. >> what is it like when you think about the fact that this role has meant so much to you for so long, to sit on the stage, to come to the stage? every night. >> first of all, being with you here on the stage, that is the thing. that is -- thank you for that, by the way. it is a good year. to be here in the booth where it originated, where david bowie did it in 1980. it is the movie that made me want to be an actor. the first time i sat at your table we talked about that and to be here in 2014 and the response that we get from the audience every single night where it feels like it actually, his story is being told. >> it was the character that motivated you to want to be an actor. >> it was the movie, david lynch's film.

my father showed it to me. the way that john hurt played him at the way it was filmed in black and white and anthony hopkins, the way it stuck with me. i always loved film. i saw all these movies, it was that movie that crystallized for me and i remember saying to my father, i want to be an actor. i got laughed at and so i was about 25 and finally he said maybe you should do that. >> your father was a real influence. >> huge. he it was a guy who grew up loving movies. i remember when hbo came through, with comcast. it was a huge thing that "raging bull" could be on at 10:30 p.m. he showed me all these movies.

>> he might have become an actor and loved the life of an actor? >> it is funny you say that. they went to it and he had written all these skits making fun of his coworkers and boss. he was flying high, he was so excited and my mom talking about how he -- she had not seen that side of him. we always joked around, it was boisterous and laugh-filled, arguing, argument-filled family. he is on the admiral court when we were getting court-martialed. >> he saw the emergence of the son who lived his dream. >> he had a good feeling.

this was the first movie i had been in the center of an eye paved the road -- and i paved the road for doing other films. "the hangover" came out so he saw "hangover 1." >> other films did come out. directors want to work with you. in an you can make films and yourself. like american sniper. in >> yeah. the booth >> a transformative moment. >> yeah. >> to play joseph merrick and this character, it is a dream. >> you insisted on the booth theater. you knew who you wanted to direct. you bet on those projects. >> that is right. and those were, "elephant man was a big shot. that is a marketable entity that will be a problem. that is having to convince and share my passion with people.

>> from the moment you came out of georgetown to the moment you are now, is there a time when you said i am not sure i am doing what i want to do. >> for years. and years. i came out and went to grad school and was living in new york city, living in a bubble when you're in grad school. and then i was thrown into los angeles shooting a tv series which was incredible and i got to see the way that shows are edited. i was not fulfilled because i was not part of the everyday telling of the story. there was a time when i realized if -- in order to be fulfilled in this business, i got to be in the trenches with the director. i love the storytelling aspect. i will not be fulfilled if i am coming in and out. i knew early on that unfortunately for me there was one small window that i would be able to go through to be fulfilled and that is in the place i was now.

if that did not happen i would have to take a look at what i am doing with my life. >> what makes you push past that so the people who are looking at you now may understand that him everyone has felt that. >> right. look them opportunity, a watershed moment was "three days of rain." i had done a tv show that had gotten canceled. if i do not succeed a may have to hang it up and try something else with my life. i was 31 at the time. i felt very comfortable on stage. it was a very fulfilling moment. you have these little moments or someone like robert de niro looking at your audition tape and calling you and saying you're not going to get the role but keep doing what you're doing and that is when you realize the influence you can have on

somebody. just looking at those markers. >> for him to give you the encouragement. i cannot not have for you but say on it. i am telling you you have talent. >> even clint eastwood said he sees himself in you. it was easy to work with him. i love him to death. he is a jazz musician. just coming off these movies. it has that flowing energy to it. and i seamlessly went into clint's wave. >> they thought stephen might direct this and after the death of chris kyle.

>> the reason the movie got into gear was steven spielberg. chris had gotten murdered. >> after chris. >> chris was killed in february 2013. stephen called me in march, i believe. everything changes. the script, the budget, everything. everybody starts getting into gear. that was the real reason which led us to clint eastwood. >> and so stephen decided not to do it? >> he was a total gentleman and called me and he said i want to help out anywhere i can. we already worked on the script quite a bit and the story. he and clint had not worked together. he produced "flags of our fathers."

and "play misty for me." there were three guys. i want to be on the charlie rose show. i wanted to work with clint eastwood and robert deniro. that is the truth. so i put myself on tape for in an "flags of our fathers" and "gran torino" and i thought a maybe it will not happen. all of a sudden stephen drops out and what about clint? clint happened to be reading the book recreationally during that time so i talked to clint on a friday and he said, "call me on monday."

so i called him on monday and he fucker. let's make this >> you went to see his parents. >> let's go to midlothian and let's meet his children and see if wayne and debbie's parents will drive out and jeff and amy his brother and his brother's wife and we spent to an act is there. a great story about that. i do not know if it will be a huge entourage. we arrived there. just me and him. we go to the house and we are staying at a days inn. i kept waiting for a person to set things up. it was 11:30 p.m. and we get out of the minivan. the woman is there and it is me and clint eastwood checking into the days inn. >> she must've went crazy.

>> he was mr. jones and i was mr. merrick. he calls and i remember getting the phone call from the hotel. "are you up? let's get some breakfast." >> you met chris's father. >> i just spoke with him this morning. he saw the movie. >> he had some concerns when you said we want to make a movie about your son. ask understandably so. think about it. your boy is killed and later these two men from hollywood are sitting in the seat that chris had dinner in every night telling you you will make a movie about your child. that was not lost on me, how surreal that was. >> there was a special connection about chris and his father. >> a very close family. >> didn't he say -- >> he talked about hooking me up to the back of his truck and dragging the pretty out of me. i was thankful. i had not been called pretty since 2009.

>> he has seen it. what did he say? >> he will speak for himself. i will say this it meant , everything to me. the car we had this morning. i looked him in the eye. he and debbie -- i will take care of your boy. i am telling you i will do everything i can to do right by him and it was a wonderful call we had. he sees this movie can continue the work and we will talk about doing as much as we can together. >> a tragedy he was killed. killed while helping vets. tell me about him, how you saw him. >> the whole thing, the whole investigation has been so interesting and that is how i look at it, like an experiment. i looked at all the footage and he did tons of interviews. all this footage that is out there. thea took all this video. you never knew if he was going to come back.

>> you want to die. is that what it is? >> no. >> just tell me, tell me why you do it. i want to understand. >> i do it for you. i do it to protect you. >> i am here. your family is here. your children have no father. you do not know when to quit. you did your part. we sacrificed enough. have somebody else go. >> you want someone else to go? >> you find a way. you have to. ok, i need you to be human again. i need you here.

i need you here. >> she wanted to make sure she documented their lives so i have a plethora of material i could swim in for months. i got to know the way he breathes, the way he moves his hands, everything. i just fell in love with the guy. i had mad respect for him. utterly humble and a great sense of humor and for being such a huge presence and you can tell the way he changed the energy in the room. he had the ability that clint eastwood has which is to make everybody feel at ease even though you feel like you are in the presence of the legend. >> how did you prepare for this, beyond being able to study him, the physical things you had to do. to add 30 or 40 pounds. it is muscle.

>> it was not bodybuilding. it was weight training. there is this one scene where he learned he has three weeks before he has to go home and they deemed him impotent because they are not letting him fight. there is that tracking shot. he is dead squatting. i love that because that was 400 pounds. that was real, that was me doing it and that was by the nature of all the way -- all the work that we did. i had this weight trainer and a dialect coach. >> you had an incredible schedule. then you come back and do the physical stuff. in order to be physically ready. >> that is right. >> it helps you inhabit the character. >> it was invaluable. better than if i had done and acting workshop. i worked out to his playlist. it was all his music all the time that i was working out and i had blown up these photographs and one was giving the camera the finger. he was smirking at me as i was trying to become him.

>> when you -- did you feel that you had made the movie that you meant to make at the end of shooting? >> yes, very proud of it. yeah. i got to tell you something, i was worried that i was not going to be able to do it. i was really terrified. i was not able to believe i was chris. i know it sounds crazy but when we were shooting, i felt his presence. he was taking care of me and a lot of people would come on set who knew chris and think the balls of this guy who would think he could play this guy. they started to believe it. the two guys at the end of the movie, one of them knew chris and i could feel that he was there. >> it was much more than simply being a great shooter. being a great sniper. >> a couple of things.

he happened to be at the right place at the right time. he was very savvy in terms of where to set up his gun. he always had a knack for that and had a knack for sussing out what was a possible target. >> he sensed the target better than most. >> these marines keep brushing like they are -- rushing in, they will get their asses shot off. i will coach them up. >> we need you. >> the deadliest job is here. do you have some kind of savior complex? >> i just want to get the bad

guy. >> they think they are invincible. you keep banging on the long gun with these. >> the idea of a competitor on the other side, was that his life or was that a dramatic device? >> there was that guy that he hunted. what i loved about the framing was it was set up like a western and you had this mustafa character. i loved that almost "unforgiven" like structure. there is the scene where he is taking his toy hunting and he says it is a hell of a thing to stop a beating heart. when william munny takes that swig when morgan freeman has been killed and he says, it is a hell of a thing killing a man, taking everything way that he is

going to have. >> when you work with the director are you observing a guy who has been able to combine the two as well as anybody, acting and directing? >> i took it all in. >> what did you learn from it? >> i will always shoot the rehearsal if i get a chance to direct and that is what he does. >> always because you may get something there. >> where trying to pretend we are studying it for the first time. there is one time where it will be a -- the first time. might as will get it on film. it is the energy. it is like, let's do it. >> does he try to motivate or do see basically say i hired you because you knew what to do.

>> it is the latter, yeah. you better bring it. if you do bring it, and then you have some ideas, he will come right back it -- at you. he will collaborate even more, that is what i found. if i came with a certain energy or idea he would ignite, what collaboration should be, one person influences the other. if you come with the thing he will not hold your hand and take you to the role. >> who do you respect? >> michael fassbinder, ryan gosling, tom hardy. there are some fantastic male actors. >> also films you want to be in. people making movies that you like and there are the movies i admire. >> leonardo dicaprio is doing a movie, filmed very much like "birdman" is filmed. and michael fassbinder in a film

about a lighthouse in australia. there are always great objects. >> after you did "elephant man," did you know that you wanted to do that on stage? you did that is your thesis in grad school. >> i graduated in 2000, and billy crudup did a revival. i thought maybe i will never get to do it again. in the back of my mind, even

though i knew i would just love to do it because i felt something when i played him in 2000, i felt like there was a connection. if my connection was correct. >> what is the connection beyond you saw it as a film that you love? was it something about him? >> yes, something about him. something about his spirit. i know it sounds crazy but there is something -- have you ever said, had that? you feel like it is a brother. something is there. and i felt that way about chris once i started learning about him. initially i thought there is no way i could play chris. i thought chris pratt should do it. i said they would do it to warner bros. but in the back of my mind i thought i would never wind up playing. >> you thought chris pratt would be the guy. >> i started the film and there was something about his energy in these interviews that i started watching when i just -- there's something about him. i could tap into that. >> when you saw merrick on stage and you go through this trencher stage, howion up on

did you come to the fact that you are not going to wear prosthetics in the play? >> he says that. in the preface to the play. it is part of -- >> you cannot physically do this, you have back problems, do not do it. it, in the beginning and it is just there and then you moved into it. was that your idea to get at the character that way or have you seen that on stage somewhere else? >> it is set up that way. the only time i have seen, i saw the original production and he did not do as much about contortion. there is that scene when the doctors describing the affliction. in terms of the specifics, it over the years started to happen but the breath was the main thing, the way he breeds.

-- bad this for stop reathes. that is the key. that is my way into him. when he puts the cane on. >> why is that? >> it is the way into everything if you think about it. how you breathe determines everything the matter what your emotional state is. you tell athletes, make sure you are breathing. to be connected. so when i figured out how large it was for him to even breathe and figure out what that would be like, that was my key into him. even hearing it, when i hear him breathe as i do downstage, it helps, it is a most like juggling. i keep hearing and the breath is so different. >> who is john merrick? >> his real name was joseph merrick. he died in 1890 and grew up in lesser england and moved to ireland. they still are not clear what it is, they bleached his skeleton so they cannot get a good dna sample.

he had this effect on london at the time because he started to exhibit himself as a freak show artist and then this doctor, it was his idea, different from the play. he grew up, his mother died when he was 10 and his mother remarried and her children tortured him. he left and lived with his uncle. he rolled cigars until his hands got so deformed to could not do it. he was educated. to be educated as a child you had to be religiously affiliated and his mother was a baptist. he knew the bible by heart and he knew the book of prayers. and he enjoyed jane austen. >> you described him as innocent and beautiful and effortlessly benevolent.

that is the man that you saw. >> that is right. >> did he see himself that way? >> that is a good question. i do not know. >> you must've appreciated his intelligence. >> for sure. he did grapple with religion. >> what happened to him in london to have the friends that he had, to have a doctor who is brilliantly casted here. >> and anthony heald. >> he reminds us every night that we are doing it to honor joseph merrick. there is a very large photograph of him in his dressing room. we both, all of us, we do it to honor him. it is a stunning moment for bradley right now. i am thankful to be part of it. he is a dear friend and he is someone, he is a consummate actor and professional. >> was that you the director? >> we went through everybody. >> this is collaboration. all the ancillary characters were interns that were not

equity actors that are now on broadway. we took everybody. >> you went in the summer to williamstown. knowing that you would be able to bring this to broadway. >> knowing that it may be the last thing i ever do. that is where you go to williamstown. but was that a challenge for you, were you concerned? >> i was -- they give you a chance to do it. >> remember doing e-mails, i will do this number of shows on this. >> that is right. >> did you learn a lot so that when you come here now on this stage, the booth theater which has been produced some any times

before, did you come into broadway saying i am so glad i did that because i have got this character inside of me. >> that is right. 100%. not only the character but how he wanted to do it. it is a stripped down story. no bells and whistles. we wanted to make it really about the relationship. >> how does merrick maintain this kind of innocence and beauty that he has inside? how does he do that? >> by his curiosity and his huge wanting to be part of society and to be part of humanity. that is the thing. as described, he desperately wants to belong.

that is one thing, he wants to belong but he has this understanding above everybody elsewhere he does see the beauty in everything. that is the thing. he does love the moments of life. a lot of people have a hard time doing it. that is why the plate is so successful or has been. it is infectious to watch a guy so afflicted, love the moments of life. >> he is enjoying it. there is a certain pleasure in having the life you have. >> the guy was never a victim. it could have been so easily. >> even when he was in a sideshow. >> and he solicited the help of that guide to exhibit him. never a victim of.

>> how do you prepare? >> i have a picture of joseph in my room, outside the shared dressing room of merrick. i sit with him in the room for 10 minutes. >> he never lets you down. >> a little bit. i may give him a little kiss. i stand on the stage every night and with the audience, we do take that journey to become him together. i do not have to do anything off stage in terms of becoming him because i do it on stage. >> there is a physical rigor about this. >> yeah. you got to be ready. >> i got to be loose and i have an inversion table and a guy comes every day and basically puts my body back together.

>> what was the relationship of the character that clarkson plays to him? >> in real life, she was a woman, the leading actor of her time, madge kendall. that -- he made that for her and she did get him tickets to the opera. she never met him. in the play version, she -- he falls in love with her. she sees him as a man. he begins to believe this illusion that maybe he actually can be with her.

he starts to actually believe it and that is the beautiful he -- thing he talks about. and like -- in some ways he was like romeo. the church is still there and she never picked it up and he is alone. >> and the relationship with the doctor? >> a mentor, father, brother, a contemporary, an enemy. it was a real love story and a real brotherly, fatherly love story. ♪

>> you have mentioned about being on stage and what an influence it has on you. getting great notices for american sniper. when you look ahead, is there a balance you want to make with this kind of place and the films you want to make? cracks you. it is not so conscious but it all falls under the same umbrella. i want to work with the best people i can on the best

material i can and there has got to be a reason i feel like i should do it. you have to do a story, you have to have a point of view. you are invested in me. there is a reason. i love joseph merrick. there is a reason we are doing this right here. i grew to love chris kyle. as long as i have a point of view. >> you have to say i can bring something to this. >> anybody can do it a different way but i have a different point of view as to why i should be the one doing this.

>> how do you track your growth as an actor? do you know you can do things you could not do five years ago? you know that your power of understanding character is much better than it was before? you know there is a sense that my own presence is different? >> i am not sure about the last one. but definitely and it is marked by this play. when i did this in 2000 i was inundated with the breathing and the physical contortions. i did not know what i was saying. i was elated two years ago that i felt him in may. when we got here every night i feel like i am talking to these people. i do not think about the breathing or the contortions. i feel like i am making sense of the words more. >> does it vary from night tonight? >> yeah. >> what is that about? >> the audience is a character. they set up the rhythm of the play. they are a musical instrument. >> wednesday may not be like tuesday night. >> they give you energy and insight. >> rhythm. it is rhythm. there are three performances when i realized, my friend was coming. robert deniro was going to show up and i remember thinking he is the best and i don't want to see him -- have him see me acting ever. here's the audience and i started realizing i was not

facing the audience at all. i was moving away and i started to talk really low because i was trying not to act. i could not hear you. so be bold, trust yourself. >> back to eastwood and what he has done for you and how this film became what it has become. is it anything that you learned about chris the man that you take with you? >> i am still wearing his shoes today. these are the shoes that he wore on three of his tours. these are what i wore in the

movie. i still find that i wear them. >> what is that about? >> i don't want to let go, maybe. i feel like he was a real man that we do not see much of. the fact that for four months out of my life i started to believe i was him, that gave me a lot of confidence and courage i do not think i had. >> it was all about country. he did have a sense, i'm doing this because those people are the enemy and those people want to kill me and if i do not kill them, they will kill my friends. all of that was the warrior mentality. >> i think he even more than that was, we got to protect our own. the whole thing with the sheepdog. you have to protect your own like i protected my brother and i will be of service. at the end of the movie, it is -- what he says is you have not seen in movies before. the doctor says do you regret what you did over there and he says no. what i regret is i am here and i

did not help more guys. and you think, well. i have not seen that in a movie. >> why did he keep going back? four tours. >> that sense of obligation. there is a war going over there, people on their cell phones and he is driving to the mall and he is thinking i am willing and able and i have the skill set. i am willing to go back there. >> once you had bulked up and you had a dialect coach that helps you understand southern speak, texas. >> and chris's texas speak, he was the same way. >> did he die a happy man because he had understood and found a roll -- a role that gave him some sense of peace?

>> absolutely. that last scene is vital where you see the way we signify what you're talking about. he starts to wear the cowboy boots again, the belt buckle, pleats his jeans and even the six shooter. this sniper rifle that you have seen cause so much damage. we watch him use it like a mythical figure and a toy, the way like when he was a kid. he sort of found that joy again in his life. which is very true. chris talked about when he first came back after he was honorably discharged, there were a couple of years where he was almost catatonic. he started drinking a lot. purpose, the purpose of helping these vets. >> this is a film where you watch the story and you read the profile about him, there were several things that give you insight. she was a crucial part. >> she was a crucial part of why he left. >> major. >> tell me.

>> he said there is a 90% divorce rate with seals and he saw the relationship going farther apart and he made that decision at 37 after the fourth tour saying i got to reacquaint myself with my family and get to know my kids and be with the woman that i love. and you can see why. the family is incredible. sienna miller was incredible i , thought this was amazing. she killed that the role. >> you are doing these command performances on stage and on this film. >> >> you got to surround yourself with the best. >> what about this now, this whole business of stardom. tell me how you feel about that. the notion that you were not only a talented actor but you are a movie star and every tag watch on the cover. people -- whatever the list is. >> it must be an issue because i get a lot of solace out of the fact that they take the subway to work which is a mundane thing to do but for me i cherish it.

so it has an effect on me. by the fact that i love taking the subway. that means -- it keeps your feet on the ground. >> i am a normal person. living in new york city i take the subway every day. i never take a car. i absolutely love it. so much. the fact that this is a big thing meets that stardom has had an effect. >> what i know about you, you're the guy that before you turned 30, you liked to drink and you liked to party. was there a moment when you said i want to be here, i have to stop this.

>> that was it. >> what was -- what was the moment? >> there were a couple of moments. there is one dear friend of mine who came, i was living in an apartment in venice and he said how are you doing and i said i am doing great. really? 4:00 p.m., i had two dogs at the time. how are your dogs doing now, taking them out? i just thought maybe i'm not so great. i knew that i was not fulfilling my potential. i was coasting and i never had that personality. it was really friends saying are you sure this is the way you want to go because you are about 30. the time for messing around is kind of coming to a close. you talk about what your desires and dreams are but if you do not

put the work in, it will not happen. >> were you angry at yourself or was there anything they had to do with your sense of frustration? >> it was more about ease with who i am. just growing up and realizing instead of me trying to figure out who i want you to think i am, i have got to embrace who i am and be at peace. >> not only at peace but be happy about it. >> and be happy with who i am. it is about growing up. i stopped doing all that stuff it 30 but it truly was not until my father got sick, that is when things really changed in terms of the way i walked through life and this idea of stardom that we are talking about, everything got put in perspective. >> did you come home to be with him? >> yeah. "limit" was shot in philadelphia.

i stayed and took care of him. i was with him when he took his last breath. i came home on new year's eve, and he died two weeks later. i was blessed enough to be able to be home. >> the takeaway in watching your father spent his last few days on earth is? >> the reality of mortality. it does end. i am watching, it is over, he is gone. once that becomes a reality, everything changes. everything changes. everything was put in perspective. i did not sweat so much. i don't sweat so much anymore. the things that i used to. the highs are not as high but the lows are not as low and i feel like i appreciate every day much more and i miss the hell out of him so much, that it changes my day every day. >> when you look ahead, what you see? >> that -- to be healthy, i learned an appreciation for health. i keep growing. i just want to keep growing.

>> do you understand why acting was so powerful for you? >> i think so. right now, i do. i feel so fulfilled, i got to tell you. people are like, jesus, you are so happy. >> you always -- you are doing something you always wanted to do. and multiple opportunities. it is both. >> it feels fulfilling to feel like i am telling a story that is potentially helping people to heal. that is the reason i wanted to do it in the first place, it was done to me and if i could keep doing that and this guy had an effect on people all the way through now, if i could be part of the ladder as people claim that and chris kyle, too. if someone can watch and feel not so alone. this part that is in my life. >> this will run through february? >> maybe if we are lucky, march 1. >> what movies are you looking at? either you are finished, so they will be coming out.

you start shooting new films. >> i will do a role in david o. russell's film. maybe this. i do not want to let go yet. >> when they are blasting through, you're blinded.

you can always see the first two rows. when i am in that tub, i am not lit, so the light is not in my eyes. the scene is in between the doctor and the bishop. i am here. and you can see everybody. i happen to be the way we staged it on the stage where other scenes are going on, you keep merrick there. it is a must like i am the audience also. that is a new thing. i love it because i am not me, i am merrick in that moment. i feel this synchronicity with the audience to some degree because i have done that transformation right there with them, too.

i love that aspect of being in the tub with the audience during the scene. >> how his stage acting different from film? >> someone said it is the same thing but like the proscenium here's here in the movie and then here on the stage. >> the camera is that close. >> it is the same thing. it is all about telling the truth. the difference with the film is you are capturing moments. it is all about let's get a couple of moments and we will piece it together. with the play the moment you start it is all about rolling. you are not piecing the story together afterwards. >> is it easier because you do not have to remember the whole thing at one time or for any actor and become second nature? the idea of having that play or film in its entirety in your head is there. >> memorization is different. you have to have that. >> how do you do it as a skill for a play? is it technique?

>> some people show up to rehearsal having everything memorized. that is not me. i like to have the book in my hand and it starts to happen but not everybody is like that. everybody is different. >> it is not that you are saying you have to remember this line. >> i see it on the page. if you are memorizing it, it is in your body as you're doing things and it becomes -- that is how your brain starts to process as opposed to the page turns and the next word is there. do you know what i mean? >> of course. >> that is a big difference. the big thing between theater and film is it is all about energy and conserving energy because you are doing it eight times a week. that is the thing. the art of repetition.

can you walk on the stage eight times a week and tell the story in a truthful way? that is so hard in theater. >> you said that several times. tell me more about that. there is a sense of how you find truth. >> yeah, i listening, by knowing who you are in that moment, what you want, and that by talking to the person you're talking and really listening to them. that is when behaviors are going to happen as opposed to you manufacturing, and you know when you are doing it. sometimes i think about i will be -- a lot of moments where that is the way it is. was that a best-of performance? i have said this response the different ways. >> tonight was better the way i said it? >> you think i be i will throw this out there because that worked eight days ago. you start affecting with an "a."

it is like having this conversation where she laughed and i will do that again. that is not being truthful because i am completely breaking out of it because i want some reaction from the audience and that is when you get burned. the audience will burn you. what works for one time is not going to work the next. ♪

>> from pier 3 in san francisco, welcome to "bloomberg west," where we cover innovation, technology and the future of business. i am cory johnson. here's a check of your bloomberg top headlines. a milestone day for the dow jones industrial average topping 18,000 for the first time. it closed with a gain of 4/10 of a percent and up 8.7% for the year thus far. michael reagan on the outlook for next year. >> we will still have earnings growth forecast for about 6%. the big question is this expansion valuation. the s&p is trading at about 18.5 times reported earnings.