>> rose: welcome to the program. we begin this evening with paul allen, co-founder of microsoft and owner of the seattle seahawks. >> we have a great team, we've had an amazing year and the quarter back on the field in effect operates as a coach and he's seen what the defense is doing, he's in effect calling all the plays. so he's a uniquely talented individual so the question is all of the offensive skill versus our defense. >> rose: we close with peter brook, one of the great theatrical directors in the world. his son has made a new documentary about the way he teaches acting. it is called "peter brook: the tightrope."

>> you cannot let the audience go. if you once allow an audience feel like they have to sit back and you can look at their program and take out their cell phone you know they that they've lost. so every second you have to have within you this invisible feeling that -- and each breaks you out that my god, this must be maintained and renewed. >> rose: paul allen and peter brook when we continue.

captioning sponsored by rose communications from our studios in new york city, this is charlie rose. >> rose: what's it like for you on draft night? >> oh, you know, it's always exciting because there's -- there's options and trading up, trading down. so i'm studying. >> rose: we begin with paul allen he is, has of you know, the co-founder of microsoft. it made him billions of dollars. he is a man of varied interests, including neuroscience, the study of the brain. he also is the owner of the seattle seahawks and he is in new york where we talked to him this week about the chances for his seattle seahawks to win the

super bowl. so what is the philosophy that john and pete have put together that makes the seahawks in the super bowl. >> well i think both of them are out of the box thinkers. they like speed, they like -- they're like cornerbacks and receivers. they'll like larger players in some cases, faster players. in the case of russell will sob they just loved the level of and the skill even though most people ruled them out as a first-round pick and i think if we redid the draft today he would certainly be taken in the first round. so they have the ability to think outside the box and as a general manager you have to have what i call the golden gut. you have to have a sense of what's inside of a player and what gets that player over the top because these are such amazingly competitive sports. >> rose: and that's what they

saw in russell wilson? >> they saw that in russell wilson and many players on our roster. >> rose: what's the satisfaction for you? >> i think the satisfaction comes on a number of different levels: one is just seeing how the community responds to the team and enjoys seeing the team victorious and supporting them. i think especially in smaller markets. i think that that comes to the fore in a pretty unique way in seattle with the 12th man and in portland with the rift city mind-set we have down here. so that's rewarding to see the fans embrace the team in that way and then for me behind the scenes you get to know the people, you get to know the players, the coaches. see how it's all coming together and try to make a good suggestion here or there so there's the satisfaction in doing that, too. i'm not quite as obsessional as

i used to be. in the early days i tried to memorize the statistics of every n.b.a. player but i'm not that -- quite that bad any more. >> rose: but you do have a mathematical approach to this. >> i think all of sports these days is becoming much more analytical. the amount of -- the film "moneyball" i think showed that side the of where the games have gone. it's much more detail oriented, analytical. so there's that whole side of it so the i can ask the more detailed areas in those questions. >> rose: did you say i've got to do that thisor seattle? they already spent a week down in l.a. >> i did -- i did feel that. but i only wanted to do it if i felt like the team could be successful financially because a lot of times, especially smaller

markets the team can struggle financially and lose money and it's not that much fun the worst-case scenario you're looking at is a team that underperforms and you're losing money and then you're wondering why did you do it. and this is the flip side of the coin where the team is playing super well. so this is the moment every owner in the n.f.l. loves to be in. >> rose: what role did your mother play in this? >> well, my mother was a very, very enthusiastic sports fan and and my father, of course, took know many football games as a kid. >> rose: to see the huskies. >> and we'd jump on hot dogs and it was pretty much smash mouth football then at the university of washington. so i'm not sure how exciting the games really were. but my mother really loved -- especially basketball games and you would fly down to portland for the games.

one of her hallmarks is that she would scold the referee. she would say "excuse me, sir, that wasn't a very good call." >> rose: (laughs) >> and they'd give her a funny look or whatever but she in fairness it was really important to her. so that sensitized me to be observant about those things and makes you just want to -- makes you want -- she really cared about the players and i feel the same way about my -- the athletes. >> rose: care about them what way. >> you want to see them successful. you want to make sure all the medical treatments and all the things you can do to provide a path to success is there and if there are any issues there are people to help them deal with any issues. so i think that's -- that's something that i don't know how many people should become sports owners unless they feel that way about their athletes because,

you know, these sports are very physical, very intense, there are going to be ups and downs and so they'll be there to support the players any way you can. >> rose: do you worry about all the studies about concussions and what it's doing to players and how you can get ahead of that and what changes you can make? >> of course. we have to get a better understanding of all the ramifications of concussions, what the right protocols are and i think the league stepped up. we're doing a much more thorough assessment of -- i think you've seen this season of concussions or something that might be concussion occur it is player goes to the locker room, he's assessed and all those things and you've seen this some adjustments of the rules, you try to prevent concussions. but there are many things we don't understand.

for example, who is more susceptible to concussions and is one player more susceptible than another? but the problem is the brain is such a complex organ that -- and i know from the research being done at my brain institute, it's going to take us a number of years to come to any particular conclusions on these things but i thought it was incumbent on me since i have people studying the brain to try to help out in that area. >> rose: your mother had alzheimer's. >> that's correct. >>. >> rose: so you watched the impact of that, which is a brain disease. >> yes, and it's -- anybody who's had that in their family, had that experience, it's truly horrific and very tough for everybody involved so if you can potentially help bring forward treatments for alzheimer's or parkinson's or lou gehrig's disease or any of these things,

that's a wonderful prospect. so hopefully out of the basic research we're doing at my brain institute there is will be treatments that will be brought forward. >> rose: so what's possible, do you think, in the next four or five years in brain science? >> well, i think you've done a lot of shows on -- in discussions, deep dives into brain science with dr. kandel who i'm a big fan of. and i think you find out that all science progresss -- progresses incrementally and then every once in a while off breakthrough. so what i tried to do with our initial work at the brain institute was to understand the genetics of the mouse brain and then the human brain and we finish those projects and try to understand how the brain really works in detail. and that is an amazingly challenging -- it's going to be -- hopefully we'll see some results in the five years.

but all of these threads of research, you're looking at decades of research, many decades of research to fully understand something about how the brain works. >> rose: is that what makes being rich a fun thing? you can go create an institute to follow your own curiosity, you can purchase a professional sports team, buy a franchise, and have an opportunity to put together what you hope will be a winning team. you can make investments, you love rock and roll, you can have your own band. i mean, it's not bad being rich, is it? >> well, it's basically -- gives you more possibilities. it gives you many more opportunities to try to make the world a better place and plus enjoy the particular passions you have and then try to give back. whether it's the music museum in seattle, or the brain research,

any of these things, a lot of it is about finding ways to give back to your community, to science in general, to return your -- with hopefully some difference that you were able to make some of the fruits of the effort you put in. in my case, that came from work i did in my 20s. >> rose: in terms of starting microsoft. >> correct. >> rose: i want to talk about that, too, but let me stay back with seattle. what has this done for seattle and the people of seattle that they are going to be on february 2 watching their team in the super bowl? >> well, it's fantastic. i mean, the amount of -- we call it the 12th man. the amount of support that we've seen, we set a record for the intensity -- i think it's 137.6 decibels or something of noise during a game.

that -- the amount of flags in the buildings, all those things and the number of everybody on social networks now, the amount of support, it's all reached an amazing level of excitement and i'm just -- i'm just going to enjoy being there and hopefully we're going to have a lot of fans in the stadium rooting for seahawks and for the broncos, too, but it's going to be an intense game and for the city i think it's -- anything that brings people together in this day and naj a positive way is a great thing. >> rose: the game against san francisco you launched the 12th man. >> yeah. i raised the 12th man flag. >> rose: what did that mean to you? >> well, i did in the 2006 when we played in the conference championships and it's just -- i don't many things like that so for me to hear from the fans

that they really appreciate what i tried to do with the team and their excitement level, that's just a tremendous moment as a sports owner. >> rose: what is it you like about the team? >> well, i guess there's a number of things. we're a very young team but the team that built their -- again, a lot of it is about speed and grittiness and determination and fearlessness and pete kind of uniquely gives the players ability to express themselves, to be who they are and i think that's really a trend more and more in sports. i think today's players do much more of that. you see much more of that activity on everything from social networks to the omnipresent coverage that you get on all the different sports channels.

so pete kind of uniquely celebrates that. and yet within a framework that -- because you have to have the discipline to take that energy that you get from that and focus it on what you need to do every weekend to win a game. so all of that comes together and pete makes it all fun. i think you will see in some of the clips in the locker room where pete's going through all the different contributions during the game and the guys are -- it's almost a college level of enthusiasm in the locker room that having been an owner and seeing previous coaches, that's pretty unique. >> rose: were you surprised you could get him? because he had a good thing down at u.s.c. >> i was. i was. he had had such tremendous success, u.s.c.'s national championships. i think one of the thing he is does is he has the team prepare

each week as if it was a championship game. at a very high level but not to get too high or too low from one week to the next. so that's a pretty unique level to have those expectations and steadiness at the same time. >> rose: what might have been the conversation between pete and sherman? >> i think, you know, i think richard sherman in the moment, you know, there was such excitement, he was full of adrenaline after beating san francisco and i think he let loose a little bit and i think pete's point to him was you've got to think about that moment could be a distraction for the team so celebrate the moment and i think -- essentially just explained many times it was in the moment, that's not really me don't judge me just from that one moment.

>> rose: was it is distraction? >> in the end i think there's so much coverage and i think that's one moment and now that people have gotten to know richard to the extent of coverage we've had this week i -- i don't think it's a factor anymore. >> rose: every time i look at a quote from you about him you talk about intelligence. >> you know, richard is a stanford graduate, he's extremely bright and if you think about -- i think in terms of study in film studying all those things if you think of -- all the rules are kind of tilted against you as a defensive player, you have to study film and really think about the theory of all the different routes and react in realtime and be able to anticipate and and people will tell you it's not

like richard is the fastest cornerback or anything else but it's his intelligence that enables him to make those plays he makes. >> rose: what do you worry about about the super bowl? >> in the super bowl? look, in the super bowl the broncos are a great team. they've got a hall of fame quarter back that's had an amazing year. and he on the field in effect operates as a coach and he's seen what the defense is doing, he's in effect calling all the plays so the question is all of the offensive skill versus are top-rated defense. so that's going to be a very, very interesting thing to watch. i think our offense has a chance to prove that they can do more than people think they can. so that's going to be very interesting to see. >> rose: at the core, what does

winning the super bowl mean for paul allen? >> well, again, since this will be my fourth chance at a championship it would be wonderful for me when i think more about the fans and it had city and celebrating a super bowl victory for any city but especially for a city that hasn't had one that would just be fantastic. but you can't get ahead of yourselves, we've got a big job to do on something. >> rose: and what will you do between now and sunday. >> as an owner there's many, many events i'll be participate in here and i'll be thinking about it and i'll probably take some of the coaches aside to get more detailed explanation of what our approach is going to be. >> rose: so what questions are you going to ask of your coachs? what is it you want to know? >> well, the detailed strategy, if you think about it, like just the preparation of russell

wilson, he watched every -- he'd watch every -- like he watched every throw drew brooes made as a professional quarter back. >> rose: every now have >> every throw, i believe. so i'm sure our coaches are dissecting every pass peyton manning made this year, every defense they that works against him, the ones that didn't, how can you bring our best players to bear against stopping their passing attack and they're a very well-rounded team. and then on the offensive swhid are we going do uniquely? because you have to throw some -- you can't just be conventional. you have to throw some surprises. >> rose: and you want to know what the surprises might be. at least the owner wants to know that. >> i have to admit that i do and i usually talk before every game

and say "okay, what are the wrinkle this is week end? and he's got a couple of them ready to go. >> rose: so what was the best one during the season? >> i'm not sure i can remember a best one. i remember not that long ago he said that they were going to run a little sweep with percy that -- and percy hadn't been able to play in that many games this year and sure enough he picked up nine yards. but there are all those little details, football is such a detail-oriented game as compared to other sports. all those little details add up to making the difference. because in every game there's a few explosive place can change the whole outcome. whereas in basketball any particular basket may or may not be critical. >> rose: but you have a passion for basketball. yo have you learned to feel -- do you feel the same way about football now that you felt about

basketball when you bought the seahawks? >> today my passion level is equal for both teams. football is so different because it's a once a week event whereas basketball, you know, it's 82 games, then the regular season. so any particular victory or loss you can't let it affect you that much. whereas in football you have either a whole week to celebrate it or a wheel week to kind of kick yourself and ask more questions which i'm sure john would say okay, paul asks questions more than most owners. >> rose: and where do you put brain science in terms of your own ambition and legacy? >> oh, no, brain science, there's a few problems if you think you can contribute to them that are the most challenging problems for science and mankind going forward and if i can make a difference in those areas,

that would be great. so i'd like to meet with the scientists, talk about their approach at a large scale and, you know, the big landscape of how they're attacking these problems and see if i can add some value there and so far it's been immensely rewarding. >> rose: what do you want to understand about? >> well, there's so many different aspects to the -- the thing about the brain is it's designed by evolution and so it's not like a computer. computers have elements that do addictions and subtractions and comparisons and it's a bunch of memory. the brain is designed by evolution so every little bit is amazingly complicated and duds its job amazingly well but it's different from the bit that's just a little bit away. even though there are similarities and you've probably covered this on some of your other shows. so you have to overcome that level of complexity and i call

that the complexity break because we're prevented from making amazing progress just by the here is level of complexity. so you have to find ways of slowly deconstructing all that complexity hopefully at a faster and faster pace to create break throughs in brain research. so that's a huge challenge. >> rose: what's the possibilities of artificial intelligence? >> that's another area that i find compelling and fascinating because what you're doing in artificial intelligence is compared to brain research where you have something you know works but you just don't know how it works. in artificial intelligence you're saying okay, we don't know how to represent and do logical, say, language understanding. complete language understanding like a human being can. and we're going to try to figure that out without actually knowing how that works so it's

clean sheet of paper kind of imagineering and that's -- that's amazingly challenging, too. so i have a team in seattle, they're starting to get some traction in artificial intelligence in terms of representing the biology textbook inside the computer and being able to ask very complicated questions. must have more complicated than has been done with existing programs like watson. >> rose: you've got a band. you occasionally play. you released an album which i think was called every at once. where does rock and roll fit in that in terms of who paul allen is? >> well, as a teenager i was -- i fell in love with the music of jimi hendrix. >> rose: it's a good place to start, isn't it? >> i got to see him play twice. he was from seattle and became a guitar player and i never stopped playing through the years so gradually i continued

to get better and better and better and there's a whole course about playing in a band which is a thing you have to learn to be able to do, too. so that's been extremely rewarding. but i guess, you know, i was kind of -- as a teenager i was -- music, computer software, computer software obviously won out but i love music and it's -- it stimulates a whole other part of your brain and enriches your life so i've tried to do things like the music museum in seattle to try to give back some of my love of muse i i can, rock and roll music to other people. i have a lot of friends that are musicians. >> rose: my regrets, paul, the life you've lived? >> i -- look, everybody looks back on their life and shea say i could have done these things differently. victim hired this general manager instead of that one, viblgd defendanted this player instead of that one. i could have been in more bands. i mean, there are many things i

think we all have things -- if you look back you can -- but you live your life as pit unreels and all you can try to do is learn from those things and have a better life as you go forward. is. >> rose: where do you put family marriage, children? >> i said before i'd like to have children and a family just hasn't happened yet but i'm an eternal optimist. >> rose: (laughs) but at this moment in your life nothing, flog would please you more than to see on your fourth try to win the ultimate championship in professional sports. >> rose: that would be truly amazing and i would just be real happy for everybody in the northwest that's followed the team and everybody in the organization, the players, it would just be a peak experience and you just don't have that many peak experiences at the summit of sports chances for it.

you've talked to other owners, there just aren't that many chances you get to be in the super bowl. i was at the giants facility yesterday watching the team practice and they have their four super bowl banners there. to experience myself that's something i dream about. >> rose: thank you. >> thank you. >> rose: great to see you. pleasure. >> the theater is never what one calls naturalistic. everything that is a heavy way of doing what one does which appeals much more directly to the imagination to suggestion. everything is suggestion. >> rose: peter brook is here. many consider him the most visionary and influential theater directors of the past half century. john already a of the "new yorker" once wrote "peter books theatrical mission is to wage war on the habitual, to take text where the audience can reencounter them with mystery and joy." (laughs)

for years he's kept his rehearsals private. a new documentary of his son simon takes the first time into his father's process. here's the trailer for "peter brook: the tightrope." >> let's start with something very simple. imagine on this carpet the imaginary type that you'll see here the nature of the rope which they usually turn or jump in reality is the basis (

it's possibly impossible at the same time. it's only this horrible moment when people come together and all of them are saying what the hell is this about? what are they doing here? and it's real, it's alive and it might hold -- doesn't let one go balance is going forward towards your aim and at the same time keeping all the elements under control and more than anything else of this strict demanding razor's edge of a tightrope. i'm very pleased to have peter brook back at this table.

>> thank you. >> rose: why are you doing this? what are you teaching us? >> two separate things. what am i doing, good question. teaching i can't imagine doing it for one moment. i spent my school days fighting against eachers and the whole work i've been doing now three-fourths of a century is to share. let things rise, evolve, adapt, adapt always in different circumstances to the moment we're living in and to everyone never with an audience nor with actors or anyone to try to be a fascist and force a doctrine, an idea, a notion on anybody.

it has to be something that you are sure about that for a moment is real. that's a valuable service. >> rose: why are you doing it now, the him? >> because it is seemed to me that by miraculous chance over all the exercises we've done over the years with groups of directors from different countries like israel, south africa, such different groups of people one exercise suddenly arose which i'd come back to and as it wasn't a teaching exercise if people take it and use it their own way and they're delighted of having the opportunity to make it with a group of people filmed by simon

knowing the closeness, the feeling, the sympathy and the understanding of his look could bring into being something that could perhaps be useful. to me there's only one criteria i'm sure you share the same thing if one feels that anything that ones happens to be doing or has done is useful. if someone comes back and says "that was useful to me. that day helped me." you think it's worth it. >> rose: exactly. i totally share that. tell me about you saw the rope on the carpet. tell me about that. what's happening? >> you're right in the heart of theater where there's no rope, it was just a carpet and then there is the compelling strength of an actor's imagination which isn't just there but which a good actor spreads through every part of his body that's why body

exercises are part of a development of an actor. at that moment actor is so convinced that there is a tightrope that we are ready to go along with it and that's why the exercise is so demanding. he has to be faithful to that so if he's carried away and his foot-- and this was something that was coming up all the time when we do this exercise-- is for one moment his foot when he's just concentrating on putting his feet truly on the carpet but even the excitement the food goes there if he's honest-- and i always stop the actor and say "hey, hey, look at your foot" he has to fall. pick up again and get going but all these inaccuracies, these little cheatings have to live in a way until you can really for a long time develop very difficult

things first for an actor alone. an actor alone doing difficult acrobatics learning that because it's theater he can do dangerous things and there is no danger whatsoever so he can take extraordinary risks which he wouldn't dare do if he was up there on a tightrope. at the same time he's honest enough if he makes a mistake to fall and this can develop through the next point where one can do it with two actors and three at the same time and then the whole of the theater process is there because you have to be true to yourself, true to where your feet are, true to where your eyes are, true to to body's balance but listening to the other and interacting with the others. it's a hell of a program. >> rose: (laughs) take a look at this clip. here it is.

try to always deep absolute logic just come to the middle now and neil down. just kneel there. now imagine that you're genuinely neiling on the rope. it can't be completely static. it's not a matter of showing this with your hands but a feel withs you body because it's either in the legs or in the balance but there is a natural movement the nature of the rope

which even if you do a turn or a jump, the reality of a rope is the basis. okay, continue. >> rose: what did you think of that? >> (laughs) >> rose: you have said the following: the particular gift of an actor is a certain link between the pure imagination and the body itself. what do you mean? >> i mean pure imagination is like when we have greens that is something that's going on in the head, little movements that go on and it can go very far but in less than a millionth part of a second for all the invisible wearings through the whole of the body is a tremendous task and that's what makes actors want to do this because they

themselves at that moment feel more alive. that was one of the many, many visionaries in the theater wrote when he was very young that it's only when i'm acting that i feel alive now, that's a tragic thing to say. >> rose: yes. >> one hopes one can be alive in other things but it's a sort of little pinpoint vision of what really is this expansion of being an actor can give actual movements so while an actor usually doesn't go beyond that to how he can develop himself so that he actually carries something of that into life, very rare. now he has moments that are really blissful, moments of great freedom living himself

better than he ever does when he goes home and can make the link is something that's very rare. >> rose: other than your own life's experience, what has been the most important influence on you in how you approach acting and theater? >> life. >> rose: i said other than your own experience. >> no, it goes beyond my experience. it's like asking an electric bulb what gives the light. they have to say it comes into me, i can't make my own life. you say to a cell phone how did this marvelous message come out of you? and the honest cell phone says "i didn't do it, i just received it. and in the same way it is the fact that it is something which animates us and that takes us way beyond it's this influence, that influence. the weak influences the strong influences, tremendous

influences and life is a patchwork of all those influence >> you also say it's essential an actor has a sense of time, an internal hour glass reminding that actor that every grain in that hour glass counts. >> now you're quoting from my new book on shakespeare whether this whole chapter called the hour glass to say that this is the only real difference between everyday life and theater. theater is, shakespeare's had a mirror hold up to life. the difference is that in a great play like "king leer" the entire vast life can be shone in a couple of hours. so what does this mean? in the theater every comic and everyone doing theater knows that you cannot let the audience go. but if you won't allow an

audience who can just sit back or they look out their program or take out their cell phone you know that you've lost. so that every second you have to have within you this invisible hour glass and your feeling of -- and each wakes you up to the fact that my god, this must be maintained and renewed. and so play writing or movie editing knows this, it's common to both theater and cinema and television and to what you're doing. one of the things i've said about you, charlie, the great pleasure of talking to you is my experience of being interviewed nine-tenths of the time you're with an interviewer and looking at him you can see in his head where he's not listening where he's saying himself at the time is he going along too long?

what about my next question. but looking at you i can see it's the in the moment. >> rose: i just saw frank langella at the brooklyn academy of music. what is it about "king leer" for you other than what you've just said that in two hours-- in fact, this one is three hours-- -- >> to me there are two total, total vast masterpieces that dominateded all western writing of the last few centuries. one is the brothers karamazov and the other is king leer. the other is the -- you have so many strands of life you can any field out of this and a good playwright could make a whole play but the theme of power,

absolute power, what that does to someone when they come for a moment and they feel that this is the moment to renounce their power, family life, what is it, that's where i'm reading so rarely understood is when they played it. really a magnificent actress played gone rill from her own point of view and then suddenly you saw not avilleness evil woman, you found a daughter who suddenly dad comes to stay and moves into a house with a hundred drunken followers and the servants come to complain to her and say we can't go on like this and you see the vast domestic drama where you can understand everyone's point of view and this goes on and on through the shades of madness, necessity, gradually to lose all sorts of illusions, a king

learning, like a president, to learn that you have to go and be close to common people to realize the hypocrisy and won't go in for it. >> rose: but keep on. i'm interested. >> but where shakespeare needed a device to show the secret vice which makes lear a considerable person. if you f you show lear as a poor hold man, you destroy the whole play. if you see the -- within this tremendously powerful tolerant there is a fine, sensitive almost small boy that we completely crushed in him that this voice is not completely submerged and shakespeare shows this not by having a voiceoff as you put in a movie or him doing little monologues, you have a

fool as the inner voice of lear telling him the truth which he is forced to recognize. he's angry with the fool. he encourages the fool to go on and tell him the truth again and again and again. >> rose: lear mad at the beginning of the play? >> not for a moment. he is a man that's why any attempt to play lear you net whole play and there isn't a strong man as a tragedy demands. no, he is a president on top of his form who to everyone's amazement calls everyone together and says time's up and then you see that he's the shrewdest of politicians because he gives them his first speech two valid reasons which only a really experienced resourceful

and cunning statesman could do. he says it's for future strife to be avoided now. shakespeare puts everything in one short link. future strife yet one sees that as he withdraws, there's going to be at once the republicans or the democrats and all fighting who's going to take his place so he knows his daughters inside out. he knows their strengths, their weakness. and he seize that there can only clash but thank god there is the third which is cordelia who she would have a bigger voice and something could all the time be -- the tightrope can be rebalanced and the tragedy only becomes possible when the situation with cordelia arises

when she refuses to play the game and make flattering speech or where you see the two daughters aren't wicked in doing those speeches, they accept that this is what's expected on a royal occasion, of course you say that sort of speech and she's a revolutionary and she won't play the game. all that could be harmless if it wasn't for the fact that he has such strength in him and such passion and pride that he explodes. and this's his tragic mistake. and the play has to rush like an express train to its end. >> rose: what's the best "lear" you ever saw? >> you're putting me on the spot because i'm forced to say paul scofield. >> rose: (laughs) but you're not the only one who says that. >> thank god. >> rose: who took liberties with text, did he? >> no. >> rose: never >> no. the liberties paul took were the

academic rules of how ever iambic line must be stressed in this or that way. he knew all that, that wasn't what -- he worked from the immediate sense coming up at the very moment of performance and each night that could change he could put the stress a little more on one or a little less. so the rhythms were always on the move and so his last speech ended up but completely free. we once quoted our friend peter haul in my book saying that for him the best speaking is like free jazz there is a beat but the mel city free and the trumpet can float over it. >> rose: why shakespeare for

you? >> bays me's the best. >> rose: just the west? >> yes. >> who's second? >> second for me is chekhov. then comes becket because the real actors with deep, deep humanity coined out of deep inner suffering and observation and yet being part of that marvelous and suffering humanity that we step away from, chekhov all coming from being a doctor and a doctor full of compassion treating poor people equally, not a sort of -- people's do doctor and beckett because of the whole irish background brought up with such a relation to a soil to the country, to people of every sort and finding

within it the sense of humor and tragedy and going dwloond the great playwright today-- that's why they're now making a new play about the brain. the valley of astonishment to come to brooklyn? a year's time. what we're doing in there is to let research into real life be our guide and together react as evolving a dramatic form so that eventually to come where the real author can be like itself. >> rose: what do the best actors you've worked with share in common? >> i've learned it's a tightrope. we have to have skills. they have to be skilled. i've a skill developed in the western waytor skills as an

african or japanese or middle european -- i mean asian actor can develop through their upbringing and their background so that they are what we call natural actors because the body is developed in that way, we've found a lot of that in south africa where people under the impression -- under apartheid could express themselves because they were acting in the street, the people they were talking to, something in the body was am animated and yet that skill has to go with a certain purity of heart. where the only interest is in success and making the impact and showing off it's not there and if he is the most marvelous truth and sincerity but hadn't the skills st..

>> rose: the suit starts in a multicity tour on february 17 in ann arbor, michigan. >> yes. >> rose: wow eel be there. >> i can't, unfortunately. but my close collaborator who's worked closely on every aspect of it will be there. >> rose: tell me briefly about the suit. >> the suit, you'll remember, that's when we last talked. >> rose: yes, i know. >> we talked together about the suit and the suit is very strange. somehow when we did the first french version we seth it very much in its south african realistally and the south african background. south african music of the time. miriam makeba and so on. gradually in redoing it, the english version, we found that, of course, like the story of "king lear", there has to be a concrete place where the story is taking place for you to be interested in leaving it.

but at once you see it's universal and that's why there is this line this could only have taken place in countries not just in south africa, in countries under the iron fist of oppression. that is to say that the pressure on a young man trying to make his way in the world with a young wife and feeling that he's -- has to hold on to something, the social pressure on him in those condition could make his mind go to really terrifying extremes that i hope neither you norly ever experience and so here to concede with punishment who's been caught in a small infidel city because she felt the life of him was too closed and she wanted to breathe a bit,

to have a little freedom, he could have got over and they both love one another, but in the conditions which were live bid the author and into whose mind came the story when you're under such -- in such a terrible pressure cooker, strange things and here the invention of this punishment of having to live day and night in bed at every table with the suit to remind her, to punish her that we have to go for a walk on a sunday with the suit being carried by her is a terrifying and yet completely understandable if you put it today in one of the many countries which are like syria today you can imagine the cruelty and misery of being in syria today, a husband and wife

could not be the same in the conditions we know. >> rose: that starts february 17 in ann arbor, michigan. "the tightrope" opens in limited release on friday, the film you have been seeing excerpts from on friday, january 31. thank you, peter. >> thank you, charlie. >> rose: peter brook. thank you for joining us. see you next time. captioning sponsored by rose communications captioned by media access group at wgbh access.wgbh.org

this is "nightly business report" with tyler mathisen and susy gelen. brought to you in part by -- >> thestreet.com. founded by jim cramer, the street.c street.com. actionalertsplus.com is home to his multimillion-dollar portfolio. you can learn more at thestreet.com/nbr. buckle up. volatility is back. the dow dives, recovers, but ends lower. logging its first january drop in four years. should investors get used to more big swings? and for how long? unwelcome warning. walmart, the world's largest retailer, says it won't earn as much as expected. why? and does the new ceo have a plan to turn things around? market monitor. our guest tonight is investing in a main street recovery and