famous presence is nothing but the body language. we're getting to see how well peanut spoke that language. i realize we are lucky in this field, very very impressive. she sharpened her senses in the way that that language, that opened my eyes. >> rose: we conclude this evening with willem dafoe and abel ferrara, the film is called 4:44, last day on earth. >> i wanted to get to a film without the presence. so like he says, take the end of the world out of it. there is a bettor relationship. >> abel really invites me to collaborate, you know, i really feel like that i'm a filmmaker as much as an actor. i mean, you know, i'm part of his little community. the nice thing is he's been

shooting basically with a lot of the same people around him for a long time. >> rose: anne hathaway, the vendors, eabl ferrar abel ferram dafoe when we continue.

sniems million>> rose: minutese world, being is a priest of theatre. this month audible.com released a new series of audible books, it is called the a-list collection. it featured hollywood stars reading great works of literature which they have selected. joining me to talk about this project is anne hathaway. she's an oscar nominated actress and she's chosen to read frank baum the wonderful wizard of oz.

i'm pleased to have her back at this table. they come to you and say they want you to do this. >> it just seemed like a wonderful opportunity. i love books and i do love to read and i love to read books to people. so it was kind of a no brainer. >> rose: why the wizard of oz? >> i do love judy garland. i'm a huge fan, i loved the movie but i never really read the book. i thought there are a lot of people out there like me who have such love for the material without having explored the source material. so i read the book, thought could be a great time. there's i think literally of hundreds of voices in it, and it was, it was three great days. >> rose: it's different than just reading. it's different obviously than act because you got to use your voice but you can also do all kinds of contortions with your face to make the sounds. >> yes, ohio state. >> rose: how did it work. >> well, the way i did it and the reason, it was different than doing on catch raw work --n

camera work because you can look grotesque in an unbelievable way. you can sound a certain way but you don't have to do it for a very long amount of time. so if you choose a particularly taxing voice you might only have to read it for three pages. so you can kind of go for it, exhaust yourself, take a break and then come back on a film. you have to be able to do that for weeks and months at a time. >> rose: how long did it take you to do the book. >> three days. >> rose: eight hours a day or two hours a day. >> half an hour. >> rose: half an hour a day. >> no. i think it wound up being six or seven hours a day. with lunch. >> rose: was there some sense of discovery about all this? >> oh yeah, absolutely. well first of all i read it at the time i was filming dark night rises, so which is, you know, which is a he have serious job. so to get to be in such a williams culwhimsical world of , it was a different sort of imagination. it was a nice relieve relief ane

book resonates today. that's probably the biggest discovery. it was written over a hundred years ago, but you can love it as though it were reign and you can related to it as though it was written last week. >> rose: what was your choice, if you had read other than the wizard of oz. >> i honestly don't remember if i could have chosen another children's book i probably would have chosen secret garden. that's my favorite book right now. >> rose: secret garden. let's talk about movies too. what are you filming. >> i'm making the adaptation of the musical lay mis represene r. >> rose: he did the king's speech. >> yes. it's a great time. we've been rehurdle rehearsing s been very intense. it's with russell cowe. >> rose: what does russell crowe. >> he plays in it.

>> rose: this is something you could have read too. >> i'm reading it at the moment. i'm embarrassed i haven't finished it yet and i'm weeks away from filming. it's a very long book. that one will take six months to read on tape. >> rose: when you get a call to addition, do you addition for a role or does it depend on something you really want. >> i usually, yes. i addition, usually if they're having additions for it, it's something worth wanting. so i have no problem. most of the roles i've gotten in the past few years i've been auditioning. >> rose: does that mean you're good at auditioning. >> i'm not if i'm good at auditioning, i'm experienced at addition. when i started acting when i was 14, i had two years where i would go on four or five additions a day after school. and usually not get any of them but i have a lot of exmain expee with auditioning. i'm probably more comfort 8 with it. >> rose: how long did you go before you got something. >> two years. actually initially i got my fourth addition led to a job. i didn't really get another one

for another year and-a-half. and then but it was about two years before i got a job. >> rose: and then what happened after that? you had a performance. >> it was a television pilot so i went to los angeles for the first time, it was my second time on an airplane in my life. well second round trip flight. i went to florida but i had to come back. and so i just went out there for a few weeks, shot it, we got picked up and then i moved out there my senior year of high school to film it. >> rose: if you look back on all of that, would you do it differently at all. >> i wouldn't, the big things no. but little things here and there. not that i understand. i think i would have come home more on long weekends. and just, i learned the importance of keeping in touch with the people even when you're traveling and i would have been much better at it. >> rose: wasn't your mother in the theatre. >> yes, she was. >> rose: what did she did. was she an actress. >> she was in le mis, actually. the part i'm doing in the film.

>> rose: you said the you got up in the morning you said your devotion is acting. >> i'm so pretentious. i apologize. >> rose: but it is, it does say something about the passion that you probably came out of living in the household you lived in. >> well, i definitely think so. in the house that i lived in, it was nothing to just burst into smawms or yospampsalms or my moe and filed me that way. it was an emotional free household and very very supportive of any imaginative or creative efforts. >> rose: when you go to acting school, what does it teach you? >> listening. i teaches you -- >> rose: that's the kind of answer i'm asking for. >> because you like to be listened to. >> rose: of course. i like to listen. but it is the notion of taking the question seriously. what did you learn in acting skhul learn to listen. >> you do. you learn to sit and watch others. i think you learn kindness and

you learn compassion how difficult it is did to get up there and give. and you pick up wonderful, wonderful little techniques that teaches you how to get into a sign. i remember my favorite lesson i ever had was for my teachers, and she had a quarter in his hands and they had each one of us come up and try to get the quarter from him. we all completely failed. then he said okay and he gave the quarter to one person in the class and said now keep the quarter away from me. the person goes okay. and he attacked their hand. i mean tackled them and got the quarter out of their hand in two seconds and he goes you have to, that is what a scene is about. you have to figure out what the quarter is and you have to give that much energy going for it. >> rose: that's great too. >> it was keen when i heard that. it like opened my world. >> rose: what is it beyond your dna that makes you like it so much. >> gosh, i never stop and think about it so you'll have to give me a second. i think one of the, i love people. and i love emotions and i'm

fascinated by people. and i'm fascinated by people's relationship with their emotions. whether or not they're open with them, whether or not they're oppressing them, theying knowledgthey --acknowledge theme traumatized in some way and can't access them. for every person you bheat, there' --meet, there's a whole w infinite numbers of possibilities, how that person has come to be. and i just find that, i get really turned on by that and that leads you to a lot of great things, it leads you to books you want to raryksd i to read, o psychology. sitting down and talking with people, observing human behavior, to dance and movement and it's all really connected and interesting. >> rose: have directors made an impact. >> oh yes, absolutely. i told you -- i just talked to him earlier today. he's had a huge impact on my life. to this day. gary marshall, anne reid, david

frankel -- >> rose: tell me the story of anne read because that was an early moment for you wasn't it. >> yes. >> rose: because you said to him i'll come to your system. >> no, i said that to him afterwards. and he hasn't called me since so i think i might have scared him. well, i was filming princes pris diaries. >> rose: this was a break through for you. >> that was a game change for me for sure. i think i had the benefit of anne not being very familiar with my work because he was not a big princess movie fan. so i think he's anti-princess movies, i just don't think he was familiar. so he, so i came in and it just was one of those wonderful and inexplicable things, we had a connection. we sat there and our energies were, had a lovely conversation and we had a lovely

conversation. i read the skein sceenlz and thk you very much. >> rose: having done it well, how did it change your life? >> i think for me, when i look at jake and michelle and of course hea ledge heathe ledger,t believe i was with those actors and i couldn't believe people were giving us money to create. it made me believe i had a place there. i could doubt it but someone thought i did and ang did and who was i to doubt ang lee. it was working at a level of precision i was so excited by. i had so much fun, i had never been able to play where i could do that much of life research for. it was just -- and then of course, you know, getting to play a character that aged,

getting to play a character that wasn't a young wide-eyed earnest princess allowed people to think of me a new way which opened up a whole anyway aspect of my career. >> rose: how do you get better. do you go and watch and awk and serve oaobserve and soak up. >> i watch meryl streep. the second you get happy with what you're dealing. pop in a michelle williams movie and that will let you now how far you actually are away from where you think you should be. >> rose: what's interesting, i once wanted to take acting lessons, not to be an actor but to understand what it meant to be an actor, how an actress saw the scene, how an actress saw the relationships. >> the freedom. when you can find actors that, and the longer i do this, the more i appreciate how hard it is to let go. and meryl streep has it, penelope cruz has it. daniel day lewis has it,

christian bale has it. >> rose: define let gee for me. >> i actually read something in le piss mis is it's the awe bill a two to burn and fly. there are some actors who say well it's like beyond a tight rope without a net and there are some actors who go yes but there's no tight rope. >> rose: exactly. bill nye said to me once that acting is to deliver a line as if you just had the thought. that that's the secret to doing it. you read the script and you thought about the performance but you need to transcross the river where you are really incensed forgetting es preparation as if you just had that thought. that made sense to me. >> there are a lot of different ways of articulating it. i think spontaneity is the key.

so if it's like you've just had that thought, you just have to forget that you know the lines. you have to, in my case, you know, it's a delicious thing when you're acting, you don't know what's coming next and you don't particularly care. >> rose: you don't particularly care? >> it's nice when you're working with actors who are of the same mind set because they might be caring. you have to get there. i'm not saying you don't change the line or don't get there. >> rose: good actors can make you better like good players can make you better. >> he i don't oh, absolutely, te truth. that's why i've always worked with people who are better than me. >> rose: when you are with meryl streep and you know tomorrow you're going to shoot an important scene with her and you want to show her. are how do yohow do you get up . >> i want to show her. >> rose: you want to say i belong here, you do. >> i never felt comfortable saying i belong here on that.

>> rose: you don't. >> i never felt -- everyone made me feel as though i belonged. >> rose: we're talk big a particular film now. >> yes, i'm talking about the devil wears prada. i had to think if i actually had a right to be there with those actors. i did in and came and did the best i could every day. i listened a lot. the thing with meryl streep, mike nichols described her as a miracle, she is as well as a human being and an actress. she comes into the room and she will change the energy. she changes the molecules and you just become a part of it. and she, i remember one day we came in and we shot her coverage first and i gotten to an emotional place for her coverage and the camera turned around and i got a little nervous because it's hard to be vulnerable and think that people are going to see that. and i hadn't quite gotten comfortable with that at that point in my career. and meryl just upped her game

until i had no choice but to give the performance that i had given on her coverage. and she just gave that to me. it was a gift. and she cared that much and she has enough respect for her projects, for her work and for acting, i think, to give that much. >> rose: what's the toughest role for you that you've had so far? >> probably emma in one day. >> rose: why? >> it was hard to agree what the accent should be. and i wanted to do something with the accent that either i didn't accomplish or it was not, let's just say i didn't accomplish it. i want, and it was difficult to within the span of a movie that's 90 minutes, two hours at the most, to age 20 years, i wanted to age vocally for over the course of 20 years so i want a strong accent in the beginning and have it as the years went on, level it out to a london accent.

and i just, that was very difficult to do because we didn't shoot the movie sequentially. it was tough. long hours, no money, the whole thing. >> rose: i'm going to show you something now, i want you to comment on it. this is a montage, a montage of some of your work. look at the scene over here. >> okay. >> for 15 years, you're one person and five minutes, you're a princess. just in case i'm not enough of a freak already, what is that tiara. ♪ somebody to love ♪ >> they put a stern up and he was cremated like he wanted. the some of it is here and the rest is sent off with his folks. he used to say he wanted his ashes scattered on broke back mountain. >> hello, mrs. preacher' priests

office. amanda priestly's office. she's in a meeting, can i take a message. uh-huh. okay. can you please spell cabana. hello? >> -- your family. yet it's a long slow guilt as regret and blame. >> that's nonsense. >> i struggle with god so much because i can't forgive myself and i don't want to right now. i can live with it but i can't forgive myself. and sometimes i don't want to believe in a god that could forgive me. >> -- your line -- butter

fingers. mm-mm. >> you're supposed to act like i don't know if it's right. but then you tell me that there is no right or wrong, just the moment. and then i tell you that i can't. well actually signaling to you that i can which you don't need because you're not really listening. it's about a connection for you -- it's about finding one or two for being here. that's fine with me. >> you have outgrown me. you think i'm uncruitment and -- uncruel and cleary. >> i don't think you're dreary. >> say good-bye. >> it's like you're daunting. >> maybe i am. >> rose: what do you think? >> wow. i just was thinking about all the people i was in those scenes in. my heart's pounding. >> rose: it's an interesting thing about you there. it's what you like about acting.

i mean think about all those different people there who you inhabit it. >> i think the thing that i feel taking a breath is gratitude that people allowed me to be the interpreter of those wonderful characters. >> rose: i have one other thing i want to show you. this is you reading from the wonderful wizard of oz. >> oh god. >> oh no, said the scare crow. this lion's a coward. really? really? asked the mouse. he said so himself. he said so himself answered the scare crow. and he would never hurt anyone who was our friend. if you will help us to save him, i promise that he shall treat you all with kindness. very well said the queen. we will trust you. but what shall we do. are there many of these mice which call you queen and are willing to obey you. oh yes. mm-mm she replied.

and them all to come here as soon as possible and each one bring a long piece of string. >> rose: one gratulations. >> thank you. >> rose: that's fun. >> i look insane. >> rose: it's great. it's all the things you do behind the microphone when there's no camera. >> except for that one little. yes, the thing that was also really nice about this format was if you didn't like the way you said a line, you could go back immediately and do it righted there. >> rose: thank you for coming. >> thank you so much for having me. it's always a pleasure to see you. >> rose: you too. 1985 he went to see a production about the dance company. he was a choreographer who revolutionized the world of modern dance. seeing her work changed his life for years he struggled with how to capture dance on film. here is the trailer for "pina."

>> rose: pleased to value you back at this table. welcome. >> good to be back, dr. rose. >> rose: hardly. take me to when you first saw this. and what results you and i sitting here at this table this evening talking about this movie. >> well, it all started that day that i caved in and went to see an evening of dance because i was anything but a dance fan. didn't like ballet, didn't like modern dance. include me out. so -- >> rose: why was that?

>> i don't know. i didn't have the antenna. i felt you needed the antenna to appreciate it and i didn't have it. one night i went to see two pieces by pina bausch reluctantly and in five minutes i was in my seat weeping. >> rose: crying. >> i didn't know what was happening to me. i'm not a sort of teary guy. i was weeping all through the thing and i didn't know what hit me. i didn't know what that woman was doing that concerned me so much. and the intermission was enough for me to dry my tears and then i saw the second piece and that did me in forever. and from that moment, i had to pass on that virus to anybody who like me was not into death. >> rose: so it took you a while. >> it took me more than 20 years. i got to meet this unbelievable woman, pina bausch. we became good friends and she sort of became the oldest sister i never had. and i talked to her about a

movie and she was -- eventually she liked the idea and then she started to push for it and then i was in trouble because i realized only then that i didn't know how to do it. >> rose: in fact she set conditions at the beginning and said no biography. >> yes. >> rose: and no -- >> two grand rules. no biography, not going to be about my life. second, no interviews. that's not a good condition. >> rose: no, it's not a place to start. >> she didn't like words, she didn't trust them. she felt she was much more familiar with this other language and 145e6&she was anla. we always think we are experts in that language because we are acting in front of cameras, we tell them what to do and that famous presence is nothing but the body language so we think we know what we're doing it. getting to see how pina, how

well pina spoke that language, i realized in this field. very very impressive. she sharpened her senses in a way for that language, that opened my eyes. >> rose: she reached a point where she would say are you going to make that movie about me? >> oh yeah. she got impatient. enough talk then. let's do it. i just had to say i don't know how pina. >> rose: that's what you would say, i don't know. >> i don't know how. >> rose: why didn't you know how. >> it looked to me as if my craft didn't have the goods a if cameras just couldn't capture it. and i tried to overcome it. i saw all the dance films but then i realized there was a general problem with dables. with -- dance. something was missing. i couldn't put my finger on it until it showed up one day and that was the three dimension. >> rose: you saw 3d.

>> that was the answer for stalling for time. >> rose: even though you didn't know you were waiting for 3d. >> who would have thought. it was obsolete. it didn't exist anymore. i had seen it in the past in the 50's with these green and red 2k3w4r5sz and theglasses and thg severe headaches. that's all i remembered. >> rose: and so 3d enabled you to do what? >> rose: it enabled me to do justice to the beauty of pina's art. it neighborhood me to be right there. and show the nas cality of it and the joy of it and the contagious of it. it was like i've always been outside watching in, like watching fish in the aquarium and wanting to swim with them but i was always just looking outside and now i was finally in there. >> rose: feeling what they felt perhaps. >> in the element. feeling what they felt. realizing how they, how pina had achieved that impact on me. and anybody else ever took, i mean took many tough cookies

into a piece by pina and they all at first said no, do we have to go see dance. and i looked over and they were all of them were crying after. >> rose: all of them. >> everybody. i don't know a single one who resisted that language. >> rose: they were open to experience. >> oh yeah. that's at least if you're not open to experience, you're never going to enjoy any book, poem or music. >> rose: she died in 2009. >> summer of 2009. just shortly before we were ready to go. >> rose: what were the last conversations about. >> we had a conversation a week before she died. about how to shoot. about when we're going to be ready. about me finally showing her 3d. we had it all set up. she never actually watched it because she didn't want to see just anything. she wanted to see how one

dances, and everything was set up so we could show it to her. finally the alaska the last cone test. >> rose: she became what to you. >> she became an incredible inspiration. a great great friend. like a sister. but she also became an example of how far you can go to totally do. she really did what she knew best by just watching patiently, observing and getting the best out of people. >> rose: what do you know about what you do best? i mean the stories of you and how many movies you watched was incredible. >> well, i'm good at watching myself. and i'm even my fictional films have a certain documentary approach. i like, i'm one of these

directors who rather find than invent. and pina too. i tried to do justice to this beauty as much as possible. and not impose myself. >> rose: take a look at this. this is a seen from "pina" where they perform one of her dances. here it is.

>> rose: tell me what i just saw. >> pina's art is really very much about the relationship with men and women. that's her big subject and she makes us see things that we've never seen the movies. we've never seen them on stage. everything expressed in voice. she gets in there. she gets into that relationship with a whole new means. like this thing with the men reaching, grabbing for the girls. >> rose: when she died, you had to make the movie. >> no.

i walked away from it. i walked away from it because i said it's too disappointing. it sales s seems so tragic we hd for 20 years and now ready she passed away. the dancers sort of made me. >> rose: the dancers. >> two months later because she didn't give up. they even performed the night pina died knowing she would have expected that 0 of them. >> rose: no better way to arne her than to perform. >> yes. they decided a few weeks later to continue the company and that's why they then also started to rehearse the very pieces that pina happened put on the agenda so we could film them and that's when i realized there was another reason to make this movie. it was also for the living because all these dancers, none of us, none of them had been able to say good-bye or thank you. and there was a movie to be made for pina by all of us. it would sort of help us to overcome that loss. >> rose: 3d, you have said,

stands for three times as difficult. >> it is. you need a lot of patience. at least a little bit more patience because you always need patience making a movie. but it's a whole different ball game because a person in front of you, if i had a 3d camera and was seeing you, you would be somebody very different than in any films seen before. any close up before in two dimension like right now, there's nothing to do with who you would be in front of a 3d camera because your body would have volume and your face is the landscape that it is. and i would feel that i could touch it. so your presence would be so different than ever before on the screen. movie screen or television screen. and i think that's the incredible new thing about 3d that it puts us into the presence of other people in a way we've never seen. >> rose: it can expand with the cinematic experience trying to say that but that's clearly what it's going to do.

>> yes. i hope it's going to expand it because it's been more or less not used to its full potential. so far it's been used as a rollercoaster ride and most people think 3d is a thing for straightly reduced blockbuster movie. and animation, it's used beautifully. but i think it's the idea to look around, plan it and to look at people and to put the audience into the presence of somebody. >> rose: do you look for every way to see and experience death. >> i must say i still have a reticense to go to classic ballet and not every modern dance is something i can deal with. you see pina spoiled me because to pina it wasn't the aesthetics. for her dables sh dance she sait herself simply. i'm not interested in how my damages movdamages movedances mn what moves them. it's an expression of who we are, it's about life and not

just some, yes, aesthetic experience. but it's really about us. that i don't find all the time. actually i find that very rarely. >> rose: in dance? >> in dance. >> rose: when you finished it, did you look at her and say how did i do? >> i only knew the day i finally showed it to the dancers because the dancers were my partners. they were pina's orchestra and i made the film with the orchestra and not with the conductor. so when they saw the film and that was a tearful location but we sat together for a while and then realized together we realized we don't. >> rose: to make the movie. >> yes. >> rose: so where do you go from here. >> how to say because i don't want to go back. anything that was not shot in 2d

for me. i realized would be like going back. i think we just scratched the surface of this new language. it's so much more than a new technology. it's a ditch way t different wad to show something so i really want to continue that and i have a long term documentary project that i want to do that's going to take years about architecture. and i'm also going to try and very simple story, a family story to tell that in this new language and see if i can't find the same affinity that i found between 3d and dancing. >> rose: thank you for coming. >> thank you very much. >> rose: it's always good to see you. >> thank you for having me. >> rose: the end of the world has long fascinated film makers from stanley queu kubrik from dr. strategy love. how would the world react to dooms day scenario. a new film by abel ferrara looks

at what would happen if everybody knew the world was ending. it is called 4:44, last day on earth. here is the trailer. >> we were talking a lot how to deal with these final minutes. it doesn't matter where you live or how much money you have, we're all going to face the same fate at the same moment. >> 4:44 am, tomorrow morning, there will be no survivors. the world will end.

>> what if they're wrong. >> the streets are like -- at least for now. >> leave that man alone. >> it's all dark. >> have you looked at anyone -- >> it's everywhere. >> we're going to die guys. we're already dead. >> what is wrong with you. >> the end of the world, end of a dream. i'm going to he sate. >> my heart and your heart. >> forgive me.

>> we are with each other. >> rose: joining me to talk about this is able frawrp the -d willem dafoe. glad to have you at this table. >> thank you. >> rose: tell me about this film. >> i want to make a tblim about th --film about the woman i livd with. we lived together for seven years. >> rose: he sounds like marlon brando, doesn't he. >> i wanted to get to a film -- so like he says take the end of the world out of it, form a better relationship. >> the end of the world is really just a convention. so we can look how we live because the thing that keeps striking me is take away the future, okay. there are so many things we do for our future.

strip all that stuff away and you're left with the past. past without a future. what have you got. you just have two. god-bye and making amends and you have the presence. presence of just being with each other. what do you do. you're not preparing for anything. them it brings into a question of consciousness you have and gets to kind of the essence of how, where you direct your thoughts, what's important to you. >> good-bye, making amends. you said that a couple times. that strong. >> saying good-bye and making amends 123450eu678. >> rose: saying good-bye because it's coming to an end. >> one of the things, with this convention everybody has been living with us long enough that they more or less accept it in the sense over it's not a deep love feeling, they have got strategies with how to live it out. but no longer are they questioning. there is some guilt and some, you know, reflection on how they arrived but there's no real

science to it or that kind of thing. >> rose: there it is. >> and then also you start to realize certain things that you care about that are so important like money and possessions and all that. you cut right through. >> you can't take them with you. >> there's a lot of good jokes. >> rose: there's the old notion that nobody ever on their death bed says i wish i spent more time at the office. >> yes, yes. and also it brings into play about how our relationship to technology. i mean it's not a forced thing, it just comes out of, you know, telling the story in that locale. >> saying good-bye, using skype. >> rose: that's a perfect segue. this is a scene in which cisco talks to his daughter on skype. here it is. >> what are you going to do tonight. >> oh, she's coming or to stay. >> and your mom. >> she can't stay here. besides her boyfriend's over. it will be better for her.

i don't know. we'll pay somebody, okay. >> say hi to her for me, okay. i've always liked her. she doing all right? >> she says she doesn't want to die a virgin. it's too late for that. dad, don't cry. >> i'm sorry. >> because you're going to make me cry. >> rose: what's the dalai lama quote you use in this movie i something about nature and how man has to get away from taking controls and how you are part of nature. because the point of the film it's not a meteorite hitting the

earth. >> rose: worrying about your -- >> just kind of grooving on my -- >> rose: your new shirt. >> yes. >> rose: okay. >> the point is, it's man made. you know, it's our lack of concern and our lack of care, you know, for the earth. >> rose: this is a plate cull statement focull -- political sr you and a relationship for him. >> i don't address that at all. >> rose: it's all about relationships. >> yes. and it's about the scenes, you know that we play. >> rose: do you approach scenes different today than you did when you were 22? >> i probably when i was younger i thought there was some sort of way of approaching things that i had to refine where now i'm kind of believe that you always have to start from zero and invent the process and invent the approach appropriate to each

role, each film because each time it's different. your job is different. >> rose: do you still have the same passion to get -- >> yes, more. >> rose: do you really. >> oh yeah. >> i do too. because i'm less worried than i used to be. you know. when you're a kid, you're worried about making things stick and you're worried about career things. now, yeah, i have my worries don't get me wrong, i'm not totally cool but i can be more reckless and i can follow, i know myself a little bit better. >> rose: that makes directing him much easier too doesn't it? >> this is the third time, do you know what i mean. so it -- you know, the point is he knows how to make films. starting from being in the theatre and he knows how scenes work and how they play out. you know, the concerns. what's good about him he's there on days he's not even shooting.

i'm okay with shooting over day but other dairksz i mea days, is for the film. >> abel really invites me to collaborate. i really feel like i'm a filmmaker as much as an actor, i mean, you know. i'm part of his little community. the nice thing is he's been shooting basically with a lot of the same people around him for a long time. >> the script, you know, i unfortunate lowly i losly i losn writer. >> rose: he gave up. >> he didn't give up, he just had enough. it was not for me, i could think of better things. so the screen writing is a process reques with the group. it starts off with ideas that i know he's going to play. i know he's going to be in it. we know how we're going to go at it. like he says we're more reckless now. but you know, there's a lot more on the line.

>> rose: that's an interesting idea. the better you are at the craft, the better and smarter you are, the more experienced you are, the more reckless you can be, the more you can take chances, the more you know how to go out there because you can come back if you need to. >> it's flexibility. and you realize at least for me the things i worry about are usually the things i shouldn't worry about and the things i don't worry about are thing i should be worrying about. so, yes. you kind of give up on this notion of there's a specific way to make things. and you tap into giving yourself to a project in the fuller way. and work from intuition more. >> rose: just give in to a creative process. >> yes. >> rose: because i mention my someone i admire and like a lot. this is a scene from the nero's hotel. what is that 1998. with you and christopher talk about one of their criminal plots. it's based on the story about

william gibson. here it is, roll tape. >> we spent a year and a ton of money pursuing this guy. we know how many times a week he takes it. we're no closer to pulling this off. >> that was a year ago. >> you've proven my point. a year's a long time. this is it. he'll finishei'm finished witne. no more. >> that's fine. there's lengthity of wor plentyt there. >> before we hooked up what was your corpu corporate corporate espionage. if you analyze what was to figure out what was in this aloe they were make making. the problem was the allo the aws obsolete in ten months. you might as well spend your time bar tending. it's me, that's where the money is.

>> rose: don't you love it. >> i like the writing. >> again it's about friendship. this film is about the end is coming. he's with her, relationship. >> rose: right, relationship relationship relationship. >> this guy is like some, you know, another cup of tea as they say. >> rose: do you get up for good actors. in other words you ranc ratchett up. >> no. it always is and in fact, you know, yeah. i think sometimes, sometimes good actors can reach around. i don't know. it depends -- lins listen, it ds what kind of actors and if they are reeled in. you see i like actors that disappear. when you say just disappear like they're doing the job, they become the thing. they become the scene. when you say great actors, you

know, from the outside, you think there's different categories. my experience is when i watch movies, some actors, acting is not one thing and i find some actors work really well in certain kinds of configurations and certain kinds of movies. they can do some performances, they don't do other performances well. so what that good actor is, i don't know. i think, i think you know, there's so many moving pieces and so many variables that, yes, it's just about being there. and being there and having some stuff up your sleeve to try out and when when it gets rolling, it either takes it with you or if you get stuck, you make another case and try another way. i mean, i like that. >> it was beautiful. >> i'm sorry. >> rose: do you know what i like -- don't be sorry because

you know what i want to do. i would love to do, of all the thing i would like to do apart from the shows i do is to make a documentary and just have a serious conversation of the people like you just said, what is it about, you know. what is it about. >> listen, i had to apologize because i think sometimes, you know, the best is sometimes the enemy of the good. so when you talk about a good actor doing the scene with a good actor, i don't want to have that kind of consciousness. >> rose: how is the strauss-cohn movie calling along. you have gerard- he' -- >> he's a hero. >> rose: what's your take. >> my take is we're going to get down to the story and get the actors, confront the story, confront the people. it's a relationship between her and him.

they've been together a long time. relationship. but in the background there is some -- it comes down to -- >> rose: are you curious about this movie at all. >> i'm not in it. i'm saving my energy -- >> rose: when does that start. >> we don't have financing yet. >> the financing is with the italians. >> rose: so you go from the french to the italians. >> france is a little bit better than italy these days. we should have stayed at imf. >> rose: so you don't know what your take is or you think he was set up. >> i had a few lawyers that coached me on what i have to say every time i talk about it. but then do i think he was set

up? >> rose: yes. >> sure, absolutely. totally. >> rose: by whom. >> by whoever wanted his cell phone to begin. >> rose: why did they want his cell phone. >> you tell me. i mean the business he had, it was his business phone that they took, not his, you know. >> rose: private. >> not his girl phone, not the little black book phone it was the imf phone. >> rose: you think that was corporate theft, is that what you're thinking it was. >> i think it was. at this point, and i'm just, you know, we haven't gotten all the information in. i think he's a little bit more left than they wanted him to be. >> rose: so it's political now. >> sure. i mean -- >> rose: somebody wanted to stop him from being president of france? >> i think they just wanted to stop him, right. and then that fine line called him stopping himself. maybe he wanted to stop himself. >> rose: who is playing her?

>> he's -- >> rose: 4:44 when does it hope. >> friday. >> rose: friday march 23rd, there you go. >> it's opening at -- it's also on vod. >> rose: video on demand. >> which is kind of makes it available around the world. >> small towns, where you come from. >> rose: yes, exactly. thank you. >> thanks. >> thank you.