>> rose: welcome to the program. we begin tonight with actors maron cart yard starting with alongside michael fastbender in a new screen adaptation of shake speers' mak beth. >> i wouldn't have expected to have this kind of author, i talked to justin, the drectser. it was his second movie so i thought this man must be mad. i mean first of all, directing mak beth as a second movie is really, really risky and also asking a french actress to play lady macbeth, i was very curious to talk to him and to discover what kind of person he was. >> rose: and we conclude this evening with cinemaing to fer roger dikan, his most recent

film is sactaroi. >> some of the greatest moments have been realizing that i was the first person to see that performance in a way, to capture that moment. >> rose: when we continue. >> funding for charlie rose is provided by the following: within. >> and by bloomberg:. >> from our studios in new york city, this is charlie rose. >> rose: maron is here, she came to international fame playing piat in 2007 since then she has starred in over a dozen

major roles, vogue magazine called her a rare creature, a french siren with hollywood appeal am now she stars in an adaptation of shake speers famous tragedy mac beth. she was praised saying it deserves to be viewed as near definitive. here is the trailer for that definition. >> oh, mac beth shall be king. >> .

the scorpions is my mind. >> what's done is done. >> a shadow. >> hail mac beth hail mac beth. >> rose: it's great to you have back. >> thank you for having me. >> rose: congratulations. >> thank you. >> rose: here's what you said. i always knew that one day i would play lady mac beth but i thought it would be on stage in french. it's an amazing chance to play

her in shake sheers' english. it was unexpected but it felt right. i had to do it. >> yes, i had to do it. actually i was doing another movie very dramatic role and it was a-- brothers movie, two days one night. and i had the offer. and i had decided not to work after the movie because i had done really heavy dramatic roles. but this opportunity i couldn't miss. i mean that was as i said, as you said i said, i always knew i would be her one day. >> rose: you thought it would be on stage. >> yes, because i mean, theater, shakespeare, i mean, and because also i'm french, i wouldn't have expected to have this kind of offer. and i talked to justin, the

director. it was his second movie so i thought this man must be mad. first of all directing mac beth as a secretary mov is really, really risky and also asking a french actress to play lady macbeth, i was very curious to talk to him and to discover what kind of person he was. and he talked about his vision of the play. and how he wanted to adapt the play and how he wanted to find the humanity in this character. and i thought his vision was very unique. and it was very different from the amazing movies or of course version on stage that i had seen. so that was a gift for me. >> rose: he sounds like a man who knows who he is and what he wants to do.

>> justin? >> rose: yes. >> yeah, es-- . >> rose: confident in his own talent. >> well, i don't know if-- if an artist is ever confident in his own talent. but what i felt when i talked to him for the first time was that he was a true artist who needed to express himself this way. with a camera and with actors. and with a strong story. and that's really what i'm looking for today, to have this relationship about the director who will want to go as far as we all can to tell the story and he, i don't know if he's confident that for sure he has a talent that makes him one of the best directors i've worked with. and i just did another movie with him, a sasins creed with michael as well and he puts the same passion in like a totally

different, it's a total different movie. >> do you and michael prepare for your roles the same never pe same way. >> each role is different in terms of how you prepare. >> yeah. so i never-- i mean i don't have a specific method. it's going to come out, how i'm going to prepare and how i'm going to find the character will come when i start preparing, i just like let it happen. and the way i'm going to prepare for the movie creates itself as i start working on a character. and it depends also on the director how he wants or she wants to work and the character and the story. it's always different. >> rose: is part of that preparation looking at other actors who have performed lady

makbeth? >> well, i have seen the movies a few years before and i didn't want to see them again because it was so good. and what was in my mind, one thing that was really, really hard for me to get rid of was when i did this movie a few years ago called nine, a movie by rob march chal. and i worked with judi dench. and at that time i had worked, i had watched her version of lady macbeth. and it's perfection. it's-- what can you-- i mean she ruined it for all the actress after her and i mean, i say that as a joke because of course, but i really thought that it was impossible to, not that i wanted

to do, well, i wanted to reach some thing, you know, some place that would be as good as, i don't know what, not her because it was impossible. but to find my way, my lady macbeth and i really had to get rid of her perfect interpretation of lady macbeth. and then i thought, you know, it's a different movie. judi dench, it was not a movie but it was about some pieces of the play that i had seen on youtube am but then i thought it's a different version, it's justin's version. and i just need to put myself in his hands and i will find my lady macbeth. but it was hard to like run away from this perfection that judi dench had reached in lady macbeth. >> let's look at the scen and then we'll talk more. this is lady macbeth urging her husband to play the perfect host during king duncan's visit.

here it is. >> it is the time, your eyes, your hand, look like a-- be the certificate pent. -- certificate pent. we shall put this business into my dispatch. all our nights and days to come. >> can you define now who your lady macbeth is? >> had you saw her? >> how you come to see her under justin's guidance? >> well, he had set some thing at the beginning of the movie that was an interpretation of

what one sentence that she says in the play. she says that she breast fed a baby once. so we started from this point, that they had a baby once. and-- and so i really created her with this pain and fear. and i think that when you don't face your fears and pain and you try to escape them, and the way she tries to escape them is with violence and power and the illusion that power will allow her and them to have a new life, to have a new beginning. and so there's a humanity in

this lady macbeth and a humanity in macbeth. >> rose: and that is what you were looking for. >> that was what justin was looking for and we totally agreed. his vision was so strong and so beautiful that we just jumped into this vision. >> rose: but listen to this, this is from you too, you as well. you said it was a hell of a thing to take on am have i been through very deep experiences with many dramatic roles. but this one was the darkest of ut here there was no light,nt lady macbeth is. she is a piece of work. >> yeah, she was a piece of work because she's told, it's really like the darkest darkness i've ever experienced. and yeah, there's no hope. there's no light in her. they might have been, but it's

gone because she took this road of violence and the illusion of power that is-- i mean in my opinion, as i said, if you don't face your fears and pain, there's nothing good that can come out of it. and it leads you to madness. and that's where she is going to go. >> rose: take a look at this. it explains t goes to a man macbeth has had murdered and appears to him during a banquet and lady macbeth tries to manage and cover for her husband who is having what appears to be a breakdown. >> sit. >> at this moment, on his hope he will again be well. much you know, you shall offend him and extend his passion.

feed and regarding not. >> are you mad? >> how much difference does it make to have an actor that you had the same kind of chem is tree. >> well, i think you cannot-- if you don't have chemistry, there is something that will miss and that won't be lacking. >> totally. >> and yeah, there was some thing-- it's funny because when i met michael for the first time he made me think of a member of my family, as my brother. he has the same, i don't know how to explain but i mean yeah, my brothers and him could be totally like brothers. and so there was, you know,

something that you cannot explain. and his dedication to this-- to cinema is so beautiful. and i was very touched and very inspired by by it. and again, to be able to, like, attend his preparation for a month and a half during the rehearsal period. >> rose: a month and a half of preparation. >> yeah, yeah. and we really rehearsed like theater, like a theatre process. >> rose: you also had a shakespearean expert nearby. >> we did. >> rose: a die lech coach. >> neil swain. he-- well, basically the first thing we did was to study the script with the play and because we needed to understand all the subtleties of shakespeer's writing to make our choices. because there are like different means, different interpretations that can be given from only like

one sentence. and sometimes you don't see it right away, all the different levels of meaning. and that was very interesting for us when we would, like, actually play and rehearse like a play to earnest and all the meaning of what shakespeare wanted to say. and that was really, really interesting. and so rich. >> this is a scene in which she is racked with guilt and imagines that she has a blood of king duncan and other victims on her hands. here it is. >> the power to klt. >> who would have thought-- had so much blood in him.

>> what? >> these hands, no more of that, my lord. no more of that. >> you did joan of arc here in new york. >> yeah. >> rose: what kind of characters are there that you haven't played that you want to play, like joan of arc, like lady macbeth, like people who we all know or have had some experience that were the least bit interested in theater or literature? >> well, honestly i would love to do a little bit of comedies. >> rose: a little bit of comedy now? >> yeah, yeah, i think i need to

explore-- i mean i have explored a lot of dramatic roles. and i think lady macbeth must be like the ultimate dramatic role. and i think it's time for me to explore some thing different. and i love to take risks. and i think that the risk i could take right now is comedy. because i don't-- i mean very few comedyies, and i would have a lot of work, that would be a total different work. but yeah, that is really what i want. >> that is harder than drama, isn't it? >> yeah. >> a lot of it is timing. >> yeah, yeah, honestly, i need to confront myself to this beginnest drama is a flow that if you get the right emotion,

it's-- i mean everything comes together. comedy is, as you said, the timing, the rhythm of it is really something that-- . >> rose: the music of comedy. >> yeah. i don't know-- i don't know if i have had t. >> here's what is interesting about you. is that you mentioned risk. there is a sense that you like the challenge. >> yeah, i think i do. >> rose: you know yet at the same time you said to me in previous programs an even here tonight, that no actor has complete confidence, you know. >> yeah. >> rose: that they really-- you said artist rather than actor no artist has complete confidence in their work because it is such a personal thing for an artist. you know, and its preparation and its-- it's a unique vision you have to have, yes?

>> yes, absolutely. but i think it's interesting to discover new territories. and that's what i love to do. and that's what i have been very lucky to experience with. a lot of movies that were different, a lot of genre that were very different from one another. and i think that comedy is-- yeah, is again a different way to explore the human soul. and i would actually love to-- i think sometimes i think that i should just take acting class and experience comedy because when i was a student i barely experienced comedy. i remember once i did a comedy and people were laughing in the

audience. and that was really amazing. i had a hard time not to like laugh myself which tells me that i have a long way to comedies. but i might do this. i might experience and allow myself to be very bad in a drama school. >> i suspect will you have lots of people that want you to do comedy with them. may i talk about your real life too. are you a parisienne. >> yes. >> paris has had a terrible tragedy. >> yes. >> tell me how it's recovering. >> and where is the french two or three weeks after, has it already gone through it once before with charlie hebdo? >> yeah, i think what i love about french people is that we are-- we think about what

happening. it's something that creates a discussion between all the people we need to understand. and i think we're smart enough to not fall into something that is fear. and even if the last elections doesn't show that. >> you mean the rise of it then. >> the rise of the extreme right wing, i think because it happened once a few years ago for the president election and the extreme right ended at the last like second round, but was bit enlike, it was biten by the right, the right, did like 80

percent. so its' just like we need sometimes to alarm and to tell the politics that we need something that is a real sign of reality, i would say. >> rose: sometimes an event like this can take a leader who was struggling and give him or her a sense, of mission and a sense of how to lead. do you think that might be happening with hollande? that because he's dealt with this and by all accounts dealt with this well. >> well, it's-- . >> rose: or not. >> i mean you are there. >> i mean i really believe in people gathering together and forming a unity.

unfortunately i mean from any left or right i've been very disappointed bipolar particulars and what i really do believe today is that all together we can change things if we share, if we talk, if we think together. if there is a reflection on what we are living. and not only in french but in the whole world. because today there's like, we live in a global system. and what happens in a country affects the whole world. >> rose: it is the interdependence. >> yeah. it's a good thing. we're keeping our differences because that what makes the world an amazing place, and a rich place, with keeping those differences that make who we are, our culture. and in french culture is an amazing culture. >> rose: maybe you were

avoiding the question that i asked principle plee because you hadn't thought much about it, whether hollande had in a sense grown in the job in this instance because he had to be the voice of the nation at a time like this. but at the same time, are there-- at the same time, in the last week, last two weeks, the climate control, climate change has been taking place. >> yeah. >> rose: and you feel strongly about that, and that is an international issue that everybody has to come to work together on. >> yeah. and everybody is the politics and all the citizens of the world. it's-- because politics are like trapped into this, like, commercial world we live in. but the citizen has a real power, the power to-- i mean to

live and to change his way of living if it's disrespectful towards the planet or towards other people. and we must realize that we have this power. and of course we need politics to take decisions and to take actions. because, because all those countries who will be the first countries to-- where the impact-- impact of the climate change will be terrible, all those poor, what we call poor countries, that, who are not responsible for the climate change so they need to sit down together and find the way to give money, because that's how we're going to help those countries, to face the climate change. and this is just-- that's why it

is called climate justice. because those countries are not responsible. and they're going to be the first one to be-- to be armed by it. so we obviously need politicians to take those decisions and to be bold and to be fair. >> rose: do you believe that they were able to bridge the gap between the industrialized world and the developing world? >> well, i think we have a long way to go. that is why i think the citizens have a responsibility. and that we need to be honest with the way we take care of ourselves. and the way we take care of the world. which is, i mean, you know, you just have to see the world as it is right now. we have an amazing planet. we're an amazing animal. we have amazing things around

us. and we're not very happy with this. a lot of people in our society and even in other societies like the indian tribes in africa or in societies where they don't question their place in their society, they don't commit suicide. they have, like they live in harmony but now we spoil their places on earth. and they need to fight for their places on earth because we don't really care about, like,-- like he has been fighting his whole life and each time he wins a fight, it's ephemroal. he has to do it again and again and again because the government will change.

and he has to fight again against the dame. and we need to, you know, look at each other and see that diversity is what made us rich. and that we have a way to be-- to find the joy and happiness on earth. which is, when you see the world, i mean i don't want to be negative and but we have everything to be an amazing nation. >> but ever since i've first met you, you have been engaged, committed, outspoken. passionate about the world around you. >> you know, i think, there are a lot of human beings that are not aware of their impact.

but i love humanity. i love human beings. and i think that some people do amazing things. and some people have solutions. for example, this roundie, the chef said we should listen to them because they know the forest. and they know how to reforest the world. and because you cannot just plant trees. there is a whole ecosystem that goes with the forest. and we have a lot to learn from those tribes. we have a lot to learn from the people who work for the planet, who work in harmony with the nature. and a lot of people on this planet are doing amazing things. and we should just like listen them a little bit more than listening to a brand that will sell you something that will give you the illusion to be happy.

and it's not going to last. i mean i new pair of shoes won't make you happy for an hour t won't last. it's a way to see the world. and i think we are at a turning point because we really messed with-- messed up with this planet. and we just need, we have like, it's a turning point. >> rose: you want to talk about a ticking clock too. >> yeah, that's why it's like-- what are we going to choose. and it's interesting. it's interesting. but we're so smart. we should use our brain and heart connected together and to really be honest with what we're doing. >> rose: you make that comedy, come back to see us. >> yeah. >> rose: great to see you. >> great to see you too.s.

>> rose: roger has created some of the most iconic movie images in the past 30 years. he is a cinemaing to fer behind such films at sid and nancy, shaw shang redemption, his collaboration with the cohen brothers is particularly sell braitd. together they made 12 gill ams including fargo, the big will bowsky and no country for old men. here is a look at some of his work.

♪ ♪ >> rose: pretty damn good. >> it's interesting, there is a thing there, lots of shots of people going away from camera or the camera tracking down hallways. >> rose: a great job. >> this is one of my colleagues here, who put that together. i thought this is so good. you must have brought it in here. >> no. >> rose: you had ten people sort of creating. you said no, no, your guys did it. well done. but. >> so you look at that does that say everything about the role of a cinemaing to fer? >> i look of that and i think of my career. are you think being that time, you know, i try to remember back to what it was like shooting the

film. >> everyone about the role-- no, because it doesn't show the relationships that you need to build up on a set. >> the relationship, the you are the director's right hand when it comes to the visuals and you're also somebody that, you run the set and you create, really, you create the world, the atmosphere for the ackers to do their part in. obviously if you don't have a performance, you don't have anything. >> or if you don't catch the performance, you know what i mean, maybe you missed the performance. >> i think creating the mood on the set and creating an atmosphere that allows the ackers to feel comfortable to do their job is actually a huge part of being a cinemaing to fer >> my job. >> rose: is that why you wanted to be one. >> no, not at all. i wanted to shoot documentaries. i started off, i wanted to be a painter and then i discovered sort of still photography and went that route.

wofnlt to art college and gradually moved into documentaries. that is basically all i wanted to do. >> rose: was make documentaries. >> yeah. >> rose: so what happened? >> i started getting off at feature films with a friend, directing documentaries who went to shoot a feature film. and it was the right time for me. i started to feel that documentaries were, you know, kind of voiture statistics, i suppose. hi been in a few situations, i had been in a war zone, hi done-- the last one, last big documentary i did was in a mental hospital and it followed patients through their treatment, and realized after a while, you know, that are you in there, you take this film for three months and however you do justice to the subject, it is still are you there taking something. and you leave it behind whereas they have to stay in that situation. and that started to worry me. >> rose: what was the

influence of still photography? >> well, i can't say i really knew that many still photographers when i took it up. but when i was at art college i met roger mane whose work that i study, an early street photographer. and i think you know i just liked walking around, observing and taking photographs on the street. i still do it in my down time, sometimes. i will wander airngd the beaches in where we still sometimes live and i love taking photographs. >> rose: i know people like you. >> nosey, i suppose. >> rose: no, no, it's artistic. the executive producer of this program, he does wonderful photographs and simply doesn't set on a mission to do it but just sees things. >> right, right. >> rose: what's the thrill for snu. >> well, it is that, really, capturing that moment. and on a feature film i suppose

some of the greatest moments i've had on a feature film, i operate a camera myself so some of the greatest moments of being-- that i was the first person to see that performance in a way to capture that moment, you know. yeah, i sphil get a real buzz out of that sometimes. you sometimes think wow, that is something really special that we just captured that moment. >> rose: some directors want to be their own cinemaing to fer. >> yeah, yeah. >> rose: some direct. >> some directors are very good at it and some cinemaing to fers go on to direct. >> rose: that is my next question. >> why didn't you-- did you think about that? you had all the tools, all the skills. >> i did. >> and you started off with you know how to take pictures. and secondly, you already said how much you love and appreciated the performance. >> yeah. >> but i think there is a lot more to directing than that. i think you have got to

understand your personal. >> what don't you think you understand. >> to be a director i think there is a whole-- to get a project together. >> rose: also telling people what to do. >> i love being on a set, i thought about this and the idea of two yards into a development or something and not actually experiencing working on a set w you know, it's kind of my family, really. >> you get to travel to interesting places and all of that. >> yeah, there's that side of it. >> but there is this too, directors have, with different actors, different ways of communicateing. >> it may be very, very soft and light almost not even using words. >> yeah, yeah. >> is it true also that different directors communicate with cinemaing to fers

differently. >> directors come from just like-- they come from different strengthest, directors mate come from having a written script so they might come from the theater or they might come from having been a photographer like ku brik. so i think working with every direct certificate slightly different because what they demand what they need from you might be slightly different i have worked with directors who have basically said you know, i don't understand cinema-- cinematogranhyor lighting, that is your demain. >> but most of the time i have worked with directors like deny and sam men des without really under-- men dez who really understand the camera and trying to use the camera in a way that is more than just recording what is in front of it is it exciting to shoot something like skyfall. >> it is, yeah, country.

certainly. i hadn't done anything like it. >> it's a challenge. >> it's a challenge and to do it with sam because hi done a couple of films with sam before that and i understood the kind of film he wanted to make, it is exciting, yeah, every film is different, every film has its own reason for exciting you. >> but you planned ahead. you are a metic lus planner i like planning. you can always go in on the day and tear it up but i like knowing. >> planning gives you spon tan ate. >> i think it doesment but it also gives you the freedom to experiment. cuz you go in the day knowing what the bottomline is, what you need to make the scene work. what the core is, the essence of the scene is and then you can play with that if you have time. you can do something else, you know, you can look at it another way. >> rose: is it true with certain actors and i mean by male and female but thinking of male, that cameras love certain

kinds of faces? >> yeah, i think that's certainly true, yes. >> rose: it used to be said about redford. >> yeah, robert mitchu m. >> rose: camera loved their face. >> yeah. >> rose: and tom hanks is often said, you know, the large head and the camera likes large heads. i heard that, that's what i heard. >> i will not mention who mi think being. >> rose: the camera eats up certain people. >> there are certain people that have such character in their faces, i think of tom ely jones. es a he a greatd actor but you can just look at him, have i worked with him three times there is a whole world in that face. >> rose: and you can see it. >> yeah. i think that's part of it. >> i think sometimes actors act too much. they don't need to do as much as

they do because the camera is doing so much for them, sometimes. >> the camera does what the cameraman tells it to do. >> rose: i think. >> i suppose. >> rose: is it true or not. >> in other words there is such a thing as angles and lighting and all of that. which are scils i guess. >> yeah. >> rose: skills to be learned. >> yeah. >> i don't think you can learn all of it could you comparing myself but could you say someone like carte-- learned to do that, what he did. >> rose: you just think codo it. >> there is something there, there is some way he had of seeing what is in front of him. >> rose: i sort of see it the other way, i think. i think that all the great ones, what they do is create a

platform that served their intuition, but they work their butts off to have that platform. >> i agree. >> rose: it saul the things you just said, when you talked about your own planning process. >> yeah. >> rose: i think that every body that i know who is very good at something is a student of something. >> yeah, yeah. >> rose: they care about it. i remember someone telling me a conversation between ted williams and joe dimaggio. >> yeah. >> rose: and the consideration really was about the doing of the thing they did, you know. they were interested in what size bat. you know, and how it felt this their hands and things like that. and i think dancers, painters, painters go to the museum and study. how did they do that how did he, she do that.

>> yeah, i think there's that. but if you don't have that extra sort of instinct all kind of ability on top of the learning, then-- . >> rose: but i do think it's a combination. because i think that there is an argument about creativity that simply says, you know, you go wait for the muses to speak to you. i don't think the muses speak to you. >> no, no, get off, please, don't go there. that leaves me cold, but on the other hand i do think actually we're probably at an age in cinema at the moment where technique has become more important than emotional reaction to something. >> rose: and that's not good. >> no, i think houston or somebody said you make a fill well your gut, you don't make it rose: john huston saidn. that. >> uh-huh. >> rose: take a look at. this i want to you describe what

we're looking at here. this is from barton fink in 1991. talk to me about what i'm seeing. from your standpoint. >> yeah, i mean this is from my standpoint, i think in how we did it techically, we built this corridor. we built two matching corridors in a warehouse in long beach and our great effects supervisor filled the wall with a couple of pipes with holes in them could so you could see the fire coming down the walls. and she had a handheld sitting on the back of a little cart that bruce, who i still work with actually was pulling it. but it's interesting, what i was saying about technology, i mean this is all done in the camera. and you think maybe today a lot of this would be cg, digital. >> rose: how much easier is

that? >> it's easier but there's something you miss, i think. it is so much fun doing it-- doing it for real you also forget about editing too, how great editing can be. you go from the page to the camera to the edit. >> it's interesting. because they always cut their own work and i watched that film afterwards and we story board the whole film. and i watched how many shots were in a different place, that weren't in the film and there were like six, i think. so everything they do is so accurately, whereas another film, you know, the edit are might take things out of order and move it about and that makes something you really didn't think of, you know. >> rose: take a look at this, this is shawshang redemption, one of my favorite films, tim

robyns making his famous etion cape. tell me what the the cinematographer sees. >> what i see in this, we had-- the way we wanted to shoot this sequence was way longer than we had time in the schedule to do some of what you do is knd by the money and schedule. in the story boards we did he bets out of the water, runs across the field and catches a train that was going by. but we didn't have time to do that so we needed one kind of iconic shot that actually tells the story of his escape and got across that moment. so the last shot which a lot of people reference is the one that really matters. >> rose: and the lightning, that is a famous shot.

>> yeah. >> it's funny because it bas really, it was made up on the day, it was like how are we going to do this, and i think we had one night to shoot it. the schedule was so condensed at that point. and so you have to figure, like, you know-- . >> rose: third one we want to look at is the big lebowsky. talk about this. >> what is you say, really. this was so much fun. working with the guys, the brothers, is so much fun because they create these different worlds and then they create these worlds within the worlds so this is like, you know, jeff's nightmare within the film. >> . again, the whole sequence is story boarded so you know exactly going in how you're going to do these shots.

>> rose: look at that. >> that was the simplest of shots. >> rose: how did you do that? >> this was actually a concert, against blue screen but the pushing shot we just did with a pole and had the camera on a bag and just pushed it down the lane, low tech. >> rose: tell me about the. >> when i read the script i thought you know, sometimes you read a script so i read the prisoners, it could go either way because it could go melo dramatic or like a gottic horror story but having worked with deny and understanding his films that he had made before, i could see the direction he was going to take. so i was really excited by it when i read it it drives forward from the beginning. >> yeah, that was really important. the introduction to kate's character at the beginning to do it with drive, yeah and there's

something about the way he constructed it that the camera is constantly pushing the narrative forward in a very subtle way, i think. >> rose: beyond intuition, what are the qualities a great cinematographer has. you mean have i to ask a great cinematographer. >> i don't know, a fation. i think you know it all comes down to passion. i think all the great movies like you were saying, any artist, it's the passion in the work that really scores, i don't think it's anything else. >> rose: take a look at this. this is a clip from scario.

>> gone. >> gun. >> what are the rules here? stay in your vehicle. do what they do if they get out, you get out. >> move. >> get out of the car. >> moving, don't move. >> no, no, no, no. >> . >> rose: oh boy explain your scene, sir. >> well, two things that come to my mind about that majorly is that every shot in that story

boarded and very precisely because we didn't have that much time to shoot the sequence. and the other thing that comes to my mind is like how we got to do that. because that is all shot basically on a parking lot just outside albuquerque so the production designer built basically this border post and the fence on either side of it. and the ends of the shot when are you looking into the american side and back to the mexican side, then that is cg, that is digital edition in the end. you bust just about most of it is done in camera. >> so what did you like about the script of that. >> i hadn't done a film that was semidocumentary for a long time. and i felt this was something that was kind of an important subject. i thought it dealt with it in a very interesting way. especially taking a female lead. >> i thought that was

interesting. >> rose: this will embarrass you so be ready. >> role tape, this is from our own show. >> roger as an actor and just as someone who loves film, being in his frame is an extraordinary lesson because he's obviously telling a story as most great are, and he's helping to tell the story but what he's doing, when you talk about clues, that entire scene we just saw is in silhouette most of it and the only moments that you get clues to maybe you should pay attention to is when that light sciend of shines on my face or on paul dano's face. you get moments, some things are hidden, some things aren't. and will is a puzzle being played with light threutd the whole film. to know the story like i do, i know exactly who does it the whole time, i found it even more so than as a normal audience member. i know exactly because i waz there. but to see the work that roger does, to deflect and to reflect

and i know there are all lighting terms in a way, but the what he does is mind blog. he makes you a better actor. >> rose: it is a great honor. >> it is my pleasure, thank you so much. >> rose: thank you for joining us, see you next time. >> for more about this program and earlier episodes vits us online at pbs.org and charlie rose.com. captioning sponsored by rose communications captioned by media access group at wgbh access.wgbh.or

funding for charlie rose has rose is provided by the following: >> and by bloomberg. a provider of multimedia news and information services worldwide.

>> announcer: this is "nightly business report" with tyler mathisen and sue herera. santa claus rally? the dow rising more than 2.5% over the past three sessions, leading many to wonder if this is the warm-up act to a strong year-end surge. holiday heat wave. will the above-average temperatures play games with the economy, just as a deep freeze did last year? and new threat. just how vulnerable is the federal reserve to a cyber attack? a new report sheds some light. all that and more tonight on "nightly business report" for wednesday, december 23rd. good evening, everyone. i'm sharon epperson in tonight for sue herera. >> and i'm tyler mathisen. welcome, everybody. well, call it an oil-fueled rally. investors rushed in to equities on this last full trading day of the week. it's the third straight dayf