♪ >> from our studios in new york city, this is "charlie rose." charlie: "the washington post" reported on monday night that president trump personally dictated a statement between his son and a russian lawyer that claimed the meeting had primarily been a russian adoption program subject. this was later shown to be misleading. joining me now from washington is philip rucker, the white house bureau chief and analyst -- at the washington post and analyst for msnbc news. phil, tell me for those who did not read the story, who did not get their daily briefing from the "washington post," how the

story has developed. mr. rucker: we are talking about the meeting donald trump jr. had with the russian lawyer back in 2016 during the campaign. the news of that meeting broken times"e in "the new york a few weeks ago at the beginning of july. and the story that we detailed in the post yesterday is that president trump personally overruled the advice of his attorneys and his advisers to dictate a statement that would be issued in the name of his run to mislead the public. to intentionally conceal key facts about that meeting in an attempt to spin the story in a sort of less damaging way. that is a new revelation. charlie: is it illegal or otherwise to do that? mr. rucker: no. it is not illegal to deceive the public. it is not illegal to lie to a newspaper. but it raises problems because in thell happening

context of robert mueller's special counsel investigation into the russian matter. so what you have is the president trying to take an action to influence the public statement of his son in the midst of this investigation. one of the things that mueller is looking into his potential obstruction of justice. some of the president's advisers are quite concerned that this incident of him crafting the statement himself will draw the interest of the special counsel. charlie: i think the president's spokesperson said the center to new -- this afternoon that he was simply doing what any father would do for his son. mr. rucker: that's right, but not any father is the president of the united states under investigation for potential obstruction of justice. we are dealing with a criminal investigation here. the rules start to change a little bit. that's why people have lawyers and publicists that can do this work for him. donald trump is increasingly acting like his own lawyer, publicist, and strategist to

--pe the simmons, try to shape and manage the russia story from a pr perspective without being sensitive to the legal ramifications. charlie: his lawyers advised him not to do this, correct? mr. rucker: they advised him to get as much information as quickly as possible and make it a one-day story. it they knew this would be a damaging story and the information would eventually come out. the information we are talking about is that the meeting was set up, as we now know from the emails, in order for a russian lawyer to provide some negative information about hillary clinton obtained by the russians as part of their effort to help donald trump in the campaign. trump's advisers knew this would come out eventually so they encouraged a more transparent course of action. the president overruled them, he thought it would be best to talk about the adoptions. to say the meeting was all about adoptions and try to cover it up. charlie: do we know what the

president knew about the meeting at the time he was coaching his son or writing this statement? mr. rucker: that's a good question. the answer is, not totally sure. we don't know if president trump had actually read the email chain before he dictated the statement. i do know from the reporting of my colleagues here at "the post" that the president was fully aware that the meeting was more than just about the adoption issue, and he was intentionally deceptive and misleading and concealing of key information when he put together that statement for his son. charlie: the president of the united states knew when he put together that statement that he was intentionally deceptive, misleading, and what else? mr. rucker: and not providing the complete picture. you know, this was a strategic pr move by the president. and charlie, it's keeping with the way he's behaved over many years including in his business life where he likes to manage these things himself. he had a history in new york of

calling the new york tabloids himself, even posing as his own spokesman under a false name. this is totally behavior in keeping with donald trump's past. it's just highly unusual for a president of the united states to act this way and overrule the advice of his advisers. charlie: so it was his own hubris that allowed him to not follow the advice in this case. what are the implications other than the mueller investigation today? mr. rucker: the only other implication, i think, would be the president's credibility. it's another example of him misleading the public. there's a long history of falsehoods that he's uttered as president and certainly as a presidential candidate running for the office. this just muddies the water. the other problem is that the president's attorney was on meet the press shortly after the statement came out and said emphatically that president trump had nothing to do with the

crafting of that statement. now it is possible the attorneys did not know about the president's involvement at the time of that interview and learned about it after the fact. but the discovery, the reporting we have had in "the washington post" exposes all of those talking points as not really -- not true, frankly. charlie: remind me what the subject head was for these emails. mr. rucker: i wouldn't want to misquote the subject head but it has something to do with clinton and russia. course,ourse, -- and of the email enticing don junior to arrange this meeting. the promise of information that would be incriminating about hillary clinton. campaign dirt, if you will, that was uncovered by the russians as part of their effort to shake -- shape the election in trump's favor. they were going to present it to donald trump junior. charlie: and i assume that's why jared kushner agreed to the

meeting, and others? mr. rucker: trump jr. arranged the meeting and invited jared kushner and manafort to attend. they maintained the meeting was adoption issues but the pretext what -- theng, setup, was ostensibly to provide incriminating information. charlie: what can we say about day two of the chief of staff john kelly? mr. rucker: john kelly made it clear that there is a new sheriff in town and made it clear by getting rid of anthony scaramucci. my sources are telling me there is a sense of new order and structure and rigor inside the west wing. i think kelly is making all the staff report to him and cutting off this breezy free flow access into the oval office, trying to instill discipline around the president. it's unclear if he will be able to discipline the president

himself, but certainly the advisers and aids are getting in line at the moment to try to give kelly a chance to make things right. charlie: including the family. mr. rucker: including the family as far as i know. you know, he found the trump tweeted up -- ivanka picture tweeted a picture saying she was pleased to be working alongside him. that is very different than working for him. the structure has her and jared kushner reporting to the chief of staff. but of course, they will have their own unique individual access to the president being family. charlie: what do we know about the understanding between the president and general kelly? mr. rucker: that's a good question. neither has spoken too much in public about what agreements they reached in setting up the staff this way. i do know that president trump recognizes things are not going

mark.at the six-month he wants to be focusing on the economy. he wants to get tax cuts through. in congress, he's said no major legislative achievement. he's expecting kelly will come in and in still more order, more discipline, and create more tangible achievements the president can call a win. charlie: any idea who will succeed scaramucci? mr. rucker: it's a great question. i think there are a number of people in the mix for that. for the moment, sean spicer, who resigned as the press secretary a little over a week ago. he remains working at the white house. he's still there and i think he's functioning, to some degree, as communications director at the moment. keeping the trains running on time. ultimately, they will need a permanent replacement and i'm not sure who they will be hiring for that. charlie: is it fair to say for all intents and purposes, they have moved on from health care for the time being and are focused now on tax reform? mr. rucker: i think that's

right. i think the president may comment on health care, he may still tweet about health care. but there is no active negotiation underway right now. the white house concedes privately that health care is not going anywhere right now. mitch mcconnell, the senate republican leader, is very eager to get going on taxes and other issues. to turn the page on the health care situation. charlie: i mentioned a "vanity fair" article about the editor times" and thek editor of "the washington post." explain to me the competition that exists today with this story. mr. rucker: it's a 24/7 competition, i think, between both of our newsrooms, and between a number of other competitors that are doing great journalism out there. i'm friends with a lot of folks at "the new york times." i respect and admire their work. but we are competing for investigative exclusives and

ultimately, it's good for the public, i think. we are all trying to find truth and bring light to what happening in washington and around the country. charlie: is it an overstatement to say this is the story of a lifetime? mr. rucker: i think that's an understatement. i'm that old, but i've never experienced a story quite like this one. charlie: phil rucker, thanks for joining us. pleasure. we will be right back. stay with us. ♪

♪ charlie: "indecent" is the new play from paula vogel, the tony award winner for best direction and best lighting tells the true story of a controversial 1923 broadway debut of "god of vengeance," and the actors that risk their careers to perform it. " saysew york times "indecent" is, above all, decent, in the most complete sense of the word. it is informative and brimming with good faith. >> i have a story i want to tell you about a play. a play that changed my life. ♪ >> ♪ of all the boys i've known ♪ [singing]

♪ charlie: joining me now is director rebecca taichman, one of the stars of the play and 10-time tony award-winning producer. and in the interest of full disclosure, she and her husband are supporters of this program of which i am very proud of. let me begin with us. this is about two plays. openedbout a play that way back in 1923. "gods of vengeance." paula vogel read the play had liked it very much. then there is rebecca, who directed the play as a young

yale dramatist perry -- dramatist. all of that and they come to you. how did you end up producing? >> it went where i saw it at the vineyard theatre in new york and it was a relationship i had with paula for many years. 20 years ago, i produced how i learned to drive, which was her view -- difficult play. i was the person they would call and they would say, come and see this play. i think it has the sensibilities you are attracted to. they were right, and the process of my loving the play and then figuring out how to move it to broadway was a step that was most exciting for me because i love the play very much. but also, paula had never produced on broadway. a woman who has been a teacher, writer, i felt it would be important on so many levels. to bring this play to broadway.

charlie: did you call paula and say, i want to talk to you about this play? >> 20 years ago i am a student at yale and i happened upon this play, "god of vengeance." i was sort of gob smacked by it. found the of sanity trial from inityranscript -- obsc transcript of the 1923 production. the night it opened, they were all tossed in jail. i attended to create a piece that interwoven the transcript of the trial. it didn't work, but it was very clear that it was a very important story to tell and i was determined to be caretaker of this memory. so fast-forward about a decade, trying to find the right home, the right partner. i have the audacity to call paula vogel. basically before i finished the sentence, which you like to make a play with me about "the god of -- >> yes! [laughter]

the only thing she wanted to say was, it is about more than a moment in 1923. it is a play that spans a much larger period. i said yes, yes. charlie: what is it about in your eyes? this tells the story of life of one piece of art, "god tovengeance" as an optic look at this turbulent time in history. it goes from 1907 to the early 50's when the playwright himself for bids to production of the play. the production of the play. it is a look at american and jewish history through the eyes of one piece of art. how does one piece of art reflect this. bank of time? ultimately, the story of the

courage,s out for speaking out in times or hatred -- of hatred and in times of and creating art against all odds. "indecent," the odds keep increasing, and they keep telling their story over and over and over again. it comes to new york at a time of a time of enormous immigration reform. a real cut down of immigrants in the u.s. it was a pretty audacious move. i think the play calls out for a reminder to love. charlie: it was someone who said it was about homophobia, misogyny, censorship, art, fear. love, and advocacy. [laughter] >> a few things, 94 minutes. ms. roth: that's exactly why it is such a pertinent play today.

because those are the subjects we speak about at this table. censorship, homophobia, religious persecution, love, the freedom to love who you choose to love. all of those are subjects we care deeply about. charlie: and this play speaks to all. one historical point. what happened at the trial? was it reversed? ms. roth: eventually. charlie: it was reversed. ms. roth: it is defended by this wild guy, harry weinberger. he could not find anybody else to defend it. so he himself takes it to court. they are found guilty, but he fights and fights and fights and fight, and eventually, it is overturned as appeal. charlie: what is your role? mr. topol: around europe, new -- he shows up at the first reading of this play and falls

in love with the play. he has never seen a play in his life. he follows the journey of the play. he becomes stage manager and follows the play through its history around europe, to new york, he comes to america. he travels with the play and he is our way into the story. he is the 1 -- he is the audience's way of understanding the turbulent journey of the play. charlie: i saw singing and dancing. is it a musical? ms. taichman: i'm so glad you picked up on that. i would say it is a truly unique form. i had never seen anything like this before, which was part of why it was an amazing thing to create and develop. it has an enormous amount of music and dance in it, and sort of profound -- what we consider straight theater.

it is a mix, a real melange. the music links us through time, propels us to time in a kind of wonderful and surreal way. we start in 1907. it is somewhat music that propels us all the way through. charlie: what you look for when you look at a property that you may want to produce? ms. roth: i look at a story that resonates with me personally and -- in the hope that it will resonate for others. i look for a story that will enlighten people and maybe give us a different view of the world. i'm a very cautious person in my real life. but somehow, in theater, i'm just not afraid to take risks. not afraid to try something that is exciting or different, or shake things up a little bit. i feel it is almost my mission, in a way, to bring things to people to change their minds about the world as they see it

and open their minds, open their eyes. and have them think about things that are tough to take, maybe. or things against their grain, and say, ah, there's another way to see this. charlie: how did she put so much in such a small amount of time? 94 minutes, you said? >> when our paces right. 95 on occasion. i think the play moves in this sort of extraordinary and exquisite way. paula is able to create tremendous complication and depth. because she has created this character of the stage manager whose heart we really track through the play as well as the playwright, and the love story between these two girls. we are holding on very deeply to people we care about. so this story that swirls around them, it is communicated with

tremendous dexterity and depth. and you move -- sort of like life. 10 minutes later, you blink and it is suddenly 25 years later. it has that feeling of the strangeness of the passage of time, as well. charlie: did you say that he did not want to produce for a while? mr. topol: i think he realized that it was inflammatory. it was very divisive within the jewish community and he -- >> in the 1950's. >> yeah, after all this happened, from when he wrote it it wasit -- when produced all over the world, in the yiddish theater, and when it moved uptown, at that point, he realized because of it getting shut down that there had to be something about it that was very inflammatory. ms. taichman: it's really after

1950's,caust in the they were approached by a young theater company asking for the rights. he says, i wrote it at one time and the times have changed on me. i don't want this play produced anymore. he had written this as this wild young man in 1907. the world had radically changed. and i think you felt very protective, and it felt like exactly the wrong time to put this play on. so, there was sort of -- the play was silent for many decades, for a long time. suddenly, it had a resurgence in the late 1990's, rediscovered. it was really after the holocaust where he decided he just didn't feel it was the right thing. charlie: did you love it? when you first read it? ms. taichman: it took my breath away. how is this young man writing

this gorgeous love story between young women? it's like romeo and juliet in the rain. how did he know how to do it? and yet, there is a brothel upstairs and downstairs. there is a pure family upstairs. it is still inherently theatrical. i was totally turned on by it. i found out as a way to pierce through history, it was also incredible, an incredible piece of art on many levels. charlie: why did you call paula? ms. taichman: paula was the perfect person. in so many ways. i didn't expect her to say yes. mr. topol: you have to tell the story about when she was in college. >> she read it in college, someone suggested it in college. mr. topol: one of her drama teachers suggested that she read the play. this was however many years ago. she thought how could this man, you know -- have such insight into this love? >> and these prostitutes, too.

ms. roth: so it's a love letter to theater. let us just say. and so for rebecca and paula, rich, the entire company, and speaking for myself, it is a love letter to theater. it is what this pass and it -- passionate troup did. charlie: it is what theater is about and it's also about the moral courage. ms. taichman: the passion to not give up through all these circumstances through the years. they were a group of actors that believed in what they were doing. at the end of the play, there is that moment -- everyone is very teary aboutause -- it because you can picture the last scene of the play in your mind and the way you need it to and. that carries you through. charlie: you extended the play and got some enthusiasm about it. it has a closing date? ms. roth: this sunday. we have six weeks of extra joy and it has been miraculous, in fact. we had posted a closing notice which killed me to do because i love this place so dearly, but

we weren't being fiscally responsible because word-of-mouth is wonderful but people were not telling other people quickly enough. we had to make that decision. charlie: i read good reviews, as well. >> wonderful reviews. people who saw it enjoyed it. and everyone that got to see the play at that point adored it. we just weren't getting close to our numbers. that is the business of theater. charlie: the joy is when the both of them come together. ms. taichman: and that can happen. things,ots and other but for this, it was a regret that i couldn't live with. you know this. i would come to the theater and i was in tears because we had posted the closing notice. and there is a rule that if you are going to post notice, you have to post it at a certain time. mind, have toyour take it down by a certain time. the time had passed before we

were meant to close and i just pulled down the closing notice. i just did. and i felt that i couldn't not do that. i saw the audiences once we announced they were closing. the house was full every night. people were standing on their feet and walking out of the theater going, i can't believe this play is closing. and neither could i. so we had this period of time that i felt i could continue, you know, take the risk, and not have a regret in my life. and i asked rich on the night we were supposed to close, go out -- i said, can you go out to the audience and say we are not closing and would they please tell their friends? could you empower them to tell their friends to come see this show? we had no tickets sold that week because we were going into the fourth of july holiday which is traditionally a pretty lousy time for theater. nevermind. he went out and spoke brilliantly.

empowered everyone in the audience. they stood up and cheered. the following week, we had done better than we had done in our entire run before. we went from zero to $300,000 in a week. it was something like a miracle. mr. topol: it was a little bit like the story -- rebecca had said to me, we thought we weren't going to go anymore. then this miracle happens. the joy, the beauty, the power of the play. you have to run see this thing. you have to see this. all of a sudden, we are doing show after show. charlie: that is what theater does at its best. roll tape.

this is one clip we want to show you. >> my name is level. you can call me lou. i am the stage manager tonight. you can usually find me backstage. we have a story to tell you about a play. a play that changed my life. every night, we tell this story. but somehow, i can never remember the end. no matter. i can remember how it begins. it all starts with this moment. remember this. ♪ ♪ [singing]

♪ charlie: there you go. what do you like most about the directing process? ms. roth: the collaboration. it's an art form that you choose because you don't like to work solitary. and because you feed so much off the energy, inspiration, ideas, and talent of so many people. it felt like theater was always in my vocabulary. and when i discovered the potential of having a real point of view, articulating that through that piece of theater and collaborating with a huge family. i am sort of blessed to figure that out. charlie: the collaboration and joy of figuring it out.

ms. taichman: sometimes it is difficult, too. ms. roth: you listen well. you are open to ideas. designers enjoy the process. charlie: while this is 94 years of history, it is also very modern. the appeal to modern audiences is simply because it deals with a theme. confront them today with politics and culture. ms. roth: partly that, and it's a love story that never goes out of style. love is love is love. it is magnificently acted. if you come to the theater to see a good play that's well done, you can be satisfied on that level because it is just beautiful. charlie: congratulations to all of you. much success. it ends on august 6. so you have this week to go to the theater. ♪ we check our phones 85 times a day.

so it only made sense to create a network that keeps up. introducing xfinity mobile. it combines america's largest, most reliable 4g lte with the most wifi hotspots nationwide. saving you money wherever you check your phone. yeah, even there. see how much you can save when you choose by the gig or unlimited. call, or go to xfinitymobile.com. xfinity mobile. it's a new kind of network designed to save you money.

charlie: jeanne moreau, the actress, died on monday at her home in paris. she was 89. she made over 130 movies in a career that spanned seven decades. orson welles once called her the greatest actress in the world. moreau began her career on stage in france. she captured attention in the late 1950's when she starred in two films.

but she remains best known for her role as catherine in françois truffaut's landmark film about a love triangle set against the backdrop of world world war i would become a defining work of the french new wave. it is considered one of the greatest movies ever made. moreau took roles with leading directors. her final appearance on screen was in 2012 at age 84. richard brody of the new yorker once said of her, "jeanne moreau was a queen of intellect. an idea and an idea of culture that enriched experience, progress, and looked ardently at the times." jeanne moreau visited this table several times over the years. one of the great pleasures is the opportunity not only to talk to, but to get to know remarkable people.

jeanne moreau is one of them. whether at dinner in paris are or at this table in new york. she was talented, so full, spirited, and delightful. she was one-of-a-kind. here's a look at her and the conversations we have done over the years. [singing in french] ♪ charlie: why did you become an actor? ms. moreau: i had to. i had to. i would lie if i said i did it by reaction. i did not like the lives of grown-ups. sometimes the lives of grown-ups did not make sense to me. but that's not enough. i really had to. that's it.

i'm sure that once you are given something, if you have a gift, a piece of land, you have to take care of it. charlie: cultivate it. ms. moreau: we were talking about -- charlie: stay with this. the gift is what? to do what? [laughter] what? basically. ms. moreau: it's to choose to expose oneself, and forget oneself, and give life, the true meaning of life, inside an invented and imagination.

a character, ok? and it is, for me, to accept any mysterious unknown provocative reactions. without trying to understand them. the work is not in a construction in the mind. you have to know about the design of the director. but then it goes out of control. charlie: of all the characters you have played, who are truest

to you? ms. moreau: none. charlie: none? ms. moreau: no. charlie: not one? how about this one? ms. moreau: no. charlie: over 100 films and you can't find a character. ms. moreau: i'm not an actress to look at my navel and find out who i am. let me find who i am and i'm going to give that to the public. i would never allow myself to do a thing like that. no. when you are very young, you burn this. and it is you, you. it is me, me. my ego. you have to kick me out. these people watching.

great question. and then there's the third stage. then you let things go through you. it's not you. you discover human nature. it's like i'm a traveler. not on the surface of the earth, sometimes, but deep, deep inside human beings. i discover the ambiguity. i accept the darkness and the light. i accept anything. i have to go inside and dig to find. we use the word "work." so that people don't think we are just idle. [laughter] you know what i mean?

charlie: but his work different for you than for picasso? different for you then for anyone who does what they do? ms. moreau: actresses, actors, in general, they are very modest. charlie: very modest? [laughter] you think? ms. moreau: yes. big egos, but very modest. charlie: explain that to me. [laughter] big egos and modesty. i don't get it. ms. moreau: humility and pride. charlie: ego is the pride and modesty is the humility. ms. moreau: when you talk about ego, it is disgusting. ego. but it is beautiful. you have to have it just to face the world. and you have to have belief in yourself.

all your life, you're going to portray people that are born in the mind of somebody else. charlie: and you go give life to it on cinema. ms. moreau: yeah. you have to do something crazy somewhere. that's what actors and artists are about. we are not just acting. we feed ourselves through everything that happens around us. to feed herself with everything. charlie: you take from everywhere. ms. moreau: we don't take. we are given. charlie: you receive. you look at art and it influences you. you have conversations, you see things. you read, you talk. ms. moreau: i'm amazed sometimes. i'm not only an actress, i'm a woman. people have conversations with me and they think that i will enjoy only conversations about cinema.

and it bores me to death. charlie: conversations about cinema? ms. moreau: when we talk together, it's different. i know they do that because -- charlie: actors are one-dimensional. ms. moreau: exactly. but it's not true. some actors know a lot about economy, architecture, about -- i don't know, how to grow oak trees. [speaking french] i work a lot. charlie: you constantly work. ms. moreau: these films are not distributed as they were. there is one i've made that has been bought by sony that is going to open in next june, i

think. and another french film i made is going to be shown next fall. i work a lot. charlie: you once said that the greatest success you had was your ability to "live without any protection." what did you mean by that? without a safety net? without security? ms. moreau: yes, well -- i mean, a marriage doesn't suit me. charlie: why not? ms. moreau: i don't know. i've never lived on anybody's money. i've always been responsible for my family, my close friends. i did not follow the usual path, you know. trying to stay close to my -- what is called image.

charlie: your images rebellious, independence. to use an american cliché, you marched to your own drummer. ms. moreau: that's it. charlie: that's true. ms. moreau: i'm the drummer and the drum -- charlie: the drummer and the drum major. ms. moreau: instinctively, i have chosen to start a new one. charlie: to constantly rejuvenate, take risks. and you probably could have had more stardom them if you had chosen to -- ms. moreau: my stardom is of a special sort. charlie: what special sort? ms. moreau: i'm a side. charlie: meaning what? ms. moreau: i don't belong to any group.

i don't know how to explain that. charlie: try. ms. moreau: i'm not in the star system. i've been working for 45 years. i have a very special relationship with people in this business. i am very lucky. i'm 65. to work as much as i do. doors are open to me. i will direct my next film. charlie: i want to talk about that experience. any regrets? would you have done it the way you've done it? ms. moreau: i never think about the past. i don't want to sound ancient. i don't know. charlie: why directing? it gives you the opportunity for a different kind of creative expression? ms. moreau: of course. and i love actors. charlie: you understand them. ms. moreau: charlie: i do understand them. i have worked with great people. charlie: what do you understand about actors and actresses?

ms. moreau: i'm not frightened of them. a majority of directors are afraid of actors. because there are very good directors and a very different image of the film they want to make. and then come the actors. and each actor comes with its own personality. and a director will go -- oh, she doesn't do it the way i wanted. there is a different approach. a different approach to say, i want that. i want these characters to be like that. i want the film to be like that. but i leave the door open to something may be richer. something new that may be issued

-- eschewed from the unexpected. when you close to actors, you know exactly when something is wrong. [indiscernible] >> oh, lilly. [indiscernible] >> there won't be a wedding. there won't be a wedding. >> it is too late. >> something will happen at the last minute. things don't happen before they happen. >> i almost believe you. ms. moreau: i noticed that all

the greatest directors i work with and never spoke about the film or the character on the set. charlie: on the set, they would never talk about it? they would never come over and whisper in your ear? ms. moreau: i can't remember that. charlie: of all the directors you have worked with, who were you closest to? ms. moreau: very funnily, i have been close to all of them, but in a very different manner. because i met them at different moments in my life. orson and i met very early. charlie: orson welles. ms. moreau: i met him in 1950. charlie: you were the youngest, you began when you were 20 or something. ms. moreau: and i was in awe.

charlie: no intimacy? ms. moreau: we were friendly, but i felt like i was like a child with orson. charlie: he was pretty young at that time. go ahead. ms. moreau: no idea. and when i met françois -- and louis was five years younger than i. the relationship was different each time. and one, we had a love affair that lasted three years. charlie: how did that work when he is directing you? was it good? ms. moreau: it was very good. we loved one another because of our work. and working together, we discovered that we had talent, both of us.

that we were aiming towards the same -- charlie: does a personal intimacy, sexual intimacy, and emotional intimacy -- does it help you as an actress? does it make a difference in your performance, do you think? ms. moreau: we never said to one another, as if nobody knew about the relationship. when we were on set, it was totally different. i did not use that personal relationship, and he didn't either. it's difficult to explain. but when i started, it was a bit before the new wave. and there was françois. but i worked with orson welles, you know. i was beyond the new wave.

i was attractive and i attracted the artist. the mavericks. i still do. charlie: if you weren't an actor, what might you have been? ms. moreau: a cook. charlie: can you cook well? ms. moreau: i am a very good cook. really. charlie: you like to have lots of people over and cook for them? is that food an erotic experience? ms. moreau: it is spiritual andy -- and erotic at the same time. it is a sort of alchemy. outcomes something very special. charlie: do you spend hours in the kitchen? ms. moreau: i do. on fridays and saturdays. charlie: and sunday lunch? ms. moreau: no, because everything is ready. i love to set the table and

arrange the colors. charlie: take me to a perfect -- if i was coming to paris and you wanted to have dinner, assuming we were old friends. and you wanted to have a perfect dinner both in terms of the food and who we would want at the table. ms. moreau: just you. [laughter] [singing in french] [speaking in french] ms. moreau: life is a lesson. charlie: an ongoing lesson. ms. moreau: an ongoing lesson. and once you've gotten through the first obstacle, there's always another one afterwards. so many people to discover, so

many things to do. i am in the beautiful time of harvest. met.eople i have it's very enjoyable. incredible devotion. th, it is beautiful to be young. but life passes by. everybody can't kill themselves around 30. charlie: is it beautiful to be old? ms. moreau: it is. it is beautiful to be alive. stop talking about young and old. stop being afraid of death. that's the big problem. charlie: stop being afraid of the process of life. ms. moreau: of life. of life. charlie: jeanne moreau, dead at 89. ♪

bloomberge watching " technology." president trump endorsed new legislation that would reduce legal immigration to the u.s.. it was also give preference to people with higher education or job skills. president trump has signed the russia sanction bill congress forwarded to him. he entered a statement saying has reservations about its impact. it gives congress the power to block the president