>> rose: welcome to the program. we begin this evening with jon stewart in an interview i recorded yesterday that was broadcast on cbs this morning in which he talks about the election. >> i thought donald trump disqualified himself at numerous points. but there's now this idea that anyone who voted for him has to be defined by the worst of his rhetoric. there are guys in my neighborhood like that i love that i respect, that i think have incredible qualities, who are not afraid of mexicans and not afraid of muslims and not e blacks. they're afraid of their insurance premiums. ford the fashion designer and director whose new movie is called nocturnal animals. >> i'm a commercial fashion designer. i design clothes to sell. it is an artistic thing but it is not necessarily for me art.

there are fashion designers who are free artists. film making for me is the most expressive personal, the closest thing to art that i create. >> rose: we conclude this evening with 9 actor casey affleck who stars in masters of the sea. >> when i read it i was a little bit confused why it worked so well. it doesn't follow the formula and the telling of the story. it doesn't have this sort of, the kinds of moments in it you would expect from a movie like this to have. you might expect these two character who are forced together who have both suffered some loss to save in another in a very predictable way to have a cathartic movie and the climax of the movie with the both of them sort of moving on to warmer climes than that. it is a unique movie in that way. >> rose: jon stewart, tom

ford, casey affleck when we continue. >> rose: funding for "charlie rose" has been provided by the following: >> and by bloomberg, a provider of multimedia news and information services worldwide. captioning sponsored by rose communications from our studios in new york city, this is charlie rose. >> rose: we begin this evening with jon stewart, the former host of the daily show, in an interview i recorded for cbs this morning. he talks about the election. here is that segment. i met with stuart yesterday to talk about a book with the more than 16 years he spent at the comedy central program. he was quick to give his post

election analysis. we just went through an election. >> what? >> rose: yes. your reaction to this election? surprise? >> it all ties together. >> rose: fear. >> well fear, you know, here's what i would honestly say. i don't believe we are a fundamentally different country today that we were two weeks ago. the same country with all its grace and flaws and volatility and insecurity and strength and resilience exists today as existed two weeks ago. the same country that elected donald trump, elected barack obama. i feel badly for the people for whom this election will mean more uncertainty and insecurity.

but i also feel like this fight has never been easy. and the ultimate irony of this election is the cynical strategy of the republicans which is art position is definite doesn't work. we're going to make sure that it doesn't -- >> rose: drain the swamp. >> they're not draining the swamp. mcdonald and ryan, those guys are the swamp and what they decided to do is i'm going to make sure government doesn't work and then i'm going to use its lack of working as evidence of it. donald trump is a reaction not just to democrats but republicans. he's not a republican. he's a repudiation of republicans but they will reap the benefit of his victory. in all of their cynicism and all of their i will guarantee you republicans are going to come to jesus now about the power of government. one of things that struck me odd about this election and maybe i just missed it was nobody asked

donald trump what makes america great. that was the part that -- >> rose: in order to make america great again nobody said to him what is it that makes america great. >> correct. >> rose: what is it that you think you want to do that we're not doing now. >> what are the metrics. because it seems like from listening to him, the metrics are that it's a competition. and i think what many would say is what makes us great is america is an anomaly in the world. nobody, there are a lot of people, and i think his candidacy has animated that thought that a multiethnic democracy, a multicultural democracy is empossible. and that is what america by its founding and constitutionally is. >> rose: and coming more and more year by year. >> correct. >> rose: but do you think it's healthy that we have this now, that in fact this battle, this real sense of finding out who we are. >> yes. but i also --

>> rose: and whether we have gone off track in some way. >> absolutely. you know, i think i would rather have this conversation openly and honestly than in dog whistles. somebody was saying there might be an anti-semite that's working in the whitehouse. it's like have you listened to the nixon case. forget about advising the president. do you know lbj. do you know our history. we have to caution ourselves to the complexity of that history. i thought donald trump disqualified himself at numerous points but there's now this idea that anyone who voted for him is, has to be defined by the worst of his rhetoric. like there are guys in my neighborhood like that i love, that i respect, that i think have incredible qualities, who are not afraid of mexicans and they do not like muslim but

they're afraid of blacks. it would be individuals, it would be ignorance. but everybody who voted for trump is a monolith, is a rate es. d so this is the fight that we weighed against ourselves. because america is not natural. natural is tribal. we're fighting against thousands of years of human behavior in history to create something that no one's ever gets what's exceptional about america. this ain't easy. it's in an incredible thing t. >> it's so nice to hear from him charlie. >> rose: he's very reflective and does not miss being at comedy central and has a lot to say and knows how much his voice was miss the when you heard him. >> very interesting point. >> i like how he rather than dismissing trump or those who voted for him, tried to explain and understand why they voted for him and say don't paint them

as a monolith. >> rose: they're not worried about all the things people are talking about in terms of muslim and that, they're worried about insurance premiums. >> it's how they jump to conclusions. he's basically saying calm down. america's going to be okay. >> rose: he's assessing but he also talks about the daily show and all that went on in 16 years. it's an interesting man with lots to say. >> do you think he doesn't miss it. >> rose: i do believe he would move to another station. >> yes, i do too. >> rose: jon stewart on cbs this morning. tomorrow night on charlie rose the week more of that interview talking about the election and the full enter view next week on charlie rose. >> rose: tom ford is here the celebrated fashion designer has just directed his second film. it is called nocturnal animals. it's stars a amy aidals and jake sill hall. it tells the story of a revengeful manuscript written by

her estranged exhusband. it's a melodrama lationed with vicious crime and psychological suspense. here's a look at the trailer. >> you feel like your life is turning something you never intended. i'm worried about you. >> is he sleeping i the last time we talked. the my exhusband used to call me a nocturnal animal. >> i didn't know you had an exhusband. >> i've been thinking about him a lot lately and he sent me this book he had written. it's sad. he dedicated it to me. >> do you miss him. >> i did something horrible to him.

>> what are we going to do. >> it's a question of how serious you are of seeing justice done. >> don't do this. you'll regret it. >> i really want to be this person that you thought i was. >> you're crazy. you'll never find out. >> when you love someone, you have to be careful with it. you might never get it again. >> i like killing people. we should try it sometime. >> nobody gets away with what you did.

>> rose: man i'd go see that. >> i hope you do, charlie. >> rose: this is your second one. why seven years. >> i have no idea. where does life go, where does it go. to a big extent it's about finding something that speaks to you. making a film takes three years. i've been working on this film for three years. i also opened a hundred stores. i had a son who is now four and life just slips away. >> rose: there are those who always want to ask this question so i want to get past it right away at the beginning. have you become so enamored of film making that that's going to consume your life much more than fashion. >> no. they satisfy very very different creative needs for me. fashion moves very very quickly. i love it. you're constantly turning out new things, creating new things. film, it takes a while to get a

film made. while i was editing this, i set up my editing rooms in my london design studio. i would edit, go back to a fitting. edit for four or five hours, back to a fitting. what i created at that time was one of my favorite collections because i was so excited, i was happy, i was so energized. they are two very different things. i am a commercial fashion designer. i design clothes to self it is an artistic thing but it is not necessarily for me art. there are fashion designers who are true artists. film making for me is the most expressive personal, the closest thing to art that i create. >> rose: and it lives a you say as art does much longer than fashion. >> it lives forever. you can watch an old film from the 1930's. you're immediately pulled in, you're crying with these people, you're weeping with them and he's dead, the screen writer is dead, the director is dead.

it's a more permanent art form in the way that we have. >> rose: this is only your second film. >> it is. >> rose: you're having some really nice things said about you, even comparisons to hitchcock in terms of some of the style. how did you get good. >> flattering. how did i get good? you know i think the important thing for me in life and i think really for everyone is to have a vision. first of all i'm not young. i'm 55 years old. so even though it's my second film. hopefully i bring, well 55, you know, a lot of people's second film they're in their 20's. so i'm an adult i guess i have to finally say. so you hopefully bring that with you when you do something. but i felt very can dealt i could make my first film and making my first thrill made me confident i could write this. i wrote the screen play, directed it, produced it. it's much more complex. i would not have done it had i

not made my first fliem. >> rose: it's based by what. >> a book. we printed in america after that. i read it, i couldn't put it down. i loved it. i wasn't sure how i was going to adapt it because it's an inner monologue and i changed it. >> rose: you changed her character she's no longer a school teacher he house a gallery. he is no longer a doctor he's now business. >> yes. sometimes things that work as prose don't necessarily work visually cinematically and you know, a 400 page book can't necessarily be condensed into two hours. so i believe in taking things that speak to you, the thing that spoke to me about this story is that it's about finding people in your life that you love that mean something to you and not letting them go. i'm a very very loyal person. i've been with the same person for 30 years.

i don't let people go. in our cultural today we not only throw things away, we throw people away. that's what spoke to me about the book. i took that central theme and layered some autobiography on it because i think you need to write about what you know and express what it is about something that you feel and turn it into nocturnal animal. >> rose: the thing they talked about now in this film is the idea of the style that they see on the screen. i mean it is the work of a stylist, it's the work of someone who is trying to -- >> don't say that. go ahead. >> rose: you don't like it. >> no, because style has to serve substance. >> rose: but they do say it. you read that in almost every other review. >> you do. and luckily i've had, i have to say mostly really wonderful reviews. the one or two have not been so wonderful i said oh i looks like a perfume commercial is too

stylist, blah blah blah, he speandz too much time visualliment for me style serves the story. if it doesn't serve the story it's meaningless. >> rose: it's in your blood isn't it. >> it is. >> rose: you have a sense of the way things should look. >> yes. but as it serves the story. this particular character amy adams character, she lives in a very artificial lacquered highly polished and emptied world. so it is highly stylized. >> rose: what part of you is in her. >> oh. she's a woman who is struggling with materialism. she has, she's really a victim of her own insecurity. she's fallen back into believing what our culture tells you which is you have this, you do that you do this you're going to be happy. that may sound strange coming from someone who certainly has a voice and contemporary culture. but maybe because i'm so e muraled in the creation of all of these things and this materialism. e realizes she's actuallyand

neglected her soul, her first love, her true love. spirituality and she is struggling with that. >> rose: the idea of this hitchcockian element of this. where does that come from? is that something you always want to do, are you looking for a property you could scare it. >> i love film noir, i love hitch talk and roman polanski. it was one of the things that attracted me to the book. it's an inner novel. this book is sent by her first has bund she that spoken to him in 19 years. it arrives. she starts to read it and it's a really violent tail. what he's saying to her this is what you left to me when you left me this is how you made me feel. this is how visceral and how painful it was when you ripped our family apart. and so we as an audience have to feel that. we have to feel that fear, that

upset. >> rose: that anger. >> that anger which he's communicating to her. so i loved the idea that one could communicate their feelings in such a sharp way through a piece of art, in this case through a book. >> rose: is there any part about masculinity. >> there's definitely a part that's masculinity. jake jill hall plays two characters. i plays tony in the inner novel and plays a character in the outer novel. his name is edward. in both cases, both tony and susan are from texas and he's not the typical masculine guy. he's not great at football, he's not great with a gun. yet in the end, he has a different kind of strength. he has the strength to believe d both in the inner novel ande the outer world he ultimately triumph's. i can relate to that. i grew up in texas. i wasn't great about a football or bb gun. i wanted to sit and paint and i

was tortured but i persevered. >> rose: how defendant affect you other than give you the capacity to make a film about that subject. >> those kinds of things when you're a kid become such a part about everything. >> rose: why does susan leave him. >> susan leaves him because he's a writer. she's been programmed by her family, they don't like him to believe that she should marry one who could take care of her. she's quite insecure. she wants to be an artist but she's nervous about it. she falls back on her up bringing. so she abandons him with someoe who can provide her with things she thinks will make her happy. he is the great love of her life and from writing this book and through reagd it she falls in love with him all over again. >> rose: what does she do. >> we can't do that, the little give away ending of the film. >> rose: she's trying to

recapture isn't she. >> she is. we won't give away the ending of the thrill but at the end of the film she's transformed. it's been a painful transformation but she has broken with her past life that made her so unhappy. >> rose: this is susan talking to her co-workers about her exhusband. here it is. >> you didn't think it would, did you. >> no. the i never sleep. my exhusband used to call me a nocturnal animal. >> i didn't know you had an exhusband. since when. >> a couple years since graduate school. it's weird. i've been thinking about him a lot lately and recently he sent me this book he'd written and it's violent and he's sad and he typed nocturnal animal to me, dedicated it to me. >> did you love him. >> yeah, i loved him. he was a writer. and i didn't have faith in him.

i panicked and i did something horrible to him, something unforgivable. >> really. you left him. >> i left him. i left him. in a brutal way. >> rose: what was the more difficult part about this film. the two novels, outer novel, inner novel. >> there's three worlds. there's the outer story, the inner novel and there are flashbacks. they fuel into each other and spiral into one story. i have an incredible cast with quite a few actors. and so just the size of it, the scope of the complexity of the script, the number of cast members, the number of locations. it was a much bigger film than a single man. >> rose: this is interesting too. you give her life that seems awfully enchanting and interesting and fulfilling to somebody. on the other hand that's part of the commentary you're making. she has all this stuff and she's not quite happy and she remembers somebody that she did terrible things to. and she wants him back, right.

>> yes. >> rose: you make her life a bit glamorous. >> yes. when you see it on film, it's hollow and empty and even the way i shot it and the way the colors are desaturated. it's shiny and glossy but soulless. >> rose: is there anything about your life that's hollow and soulless? do you feel some of this. >> i have been through this. >> rose: when and how. >> it was probably ten years ago when i left gucci. i think i came on the show. >> rose: because you left gucci. >> it was an early mid life crises and i was really glad i got it over someone. someone said mid life when you get to the top of the ladder only to find you had the ladder against the wrong wall. sometimes we think we want something, you get there and i realize -- >> rose: what did you do. you had to go and do something build something on my own.

>> there are duality friends. >> rose: duality. what did you do spiritually. >> i medicate. the i ching is my bible. growing up in texas and new mexico and santa fe. the older i get the more i find connection in the emptiness of that space. i hope that i live long enough so the last ten years of my life could be spent like georgia o'keefe wanted ring around the desert with my dog feeling connected to the universe. contemporary culture can be entertaining and wonderful, a lot of us are addicted to it but at the same time it can distract us from life, our place in the universe, what we mean, why we're here. and connections to people. >> rose: who was with georgia o'keefe at that time. >> well she had a very young

friend called hamilton who i believe was 17. >> rose: >> r.d.: you now. are you at a point where you got meditation, you've got spirituality, you've got a second film, you've got a wonderful son, you've got a husband and great relationship for 40 years. 30. >> don't age me too much more charlie. >> you've got the fashion business so you got all the money you need. all this stuff. so where is the drive going to come from to top this so to speak. >> i think speaking, i think if you're addicted to communicating and storytelling, that's fun. you know what i do is so much fun. all i want is to have as many more years of it as i possibly k i also lucky and i love what i do. i'd like to make a movie over three or four years, hopefully not seven. i would like to continue with designing clothes. i'm completely happy with my life. >> rose: is it a hollow

business. you said there are fashion designers who are true artists. i think perhaps i'm too cynical to be a true artist. i ran for years when i was driving in fashion but i have a different kind of influence. i'm very innovative now in the way i think i post the business that's perhaps more innovative than the kinds of clothes i make. you said that in september. >> absolutely it's true. the you gave a taste to the world once. that's it. i gave it in the 90's. i'm not going to change. i moved with my customer and moved through time that's it. i think all designers have a very strong point of view are that way. so now i suppose, well i don't suppose i am in the stage of being perhaps less innovative in terms of fashion because i gave the world my taste. hopefully i'm still exciting people and still dressing those people and they're still shopping in my tawrs which they are. but now i filed the fashion business really interesting because it's changing. so innovative in that i was one of the first to show a see now

by now my last show you could buy it literally as it came down the runway rather than waiting five months. i find innovating in the way we market clothes, sell clothes, design clothes, service the customer is interesting. >> rose: how would you find the next film. >> i need to get a little space from this. i finished working on it in august. we went to the venice film festival in september. and i've been promoting it ever since. promoting a film can be quite exhausting. i don't know how actors do it constantly. so when we're finished promoting this, i need a few months, relax and say okay, this is what i want to say now. i have a very politically incorrect film i've written which is satirical and i thought perhaps too satirical for now but given what's going on the world maybe it's not satirical enough. i don't know. >> rose: here's what i don't understand about you. you say you're pre occupied with death that you think about it

all the time. >> i'm glad you asked that because unfortunately that's been a little bit misinterpreted in the press so i'm glad to get to clarify that. what i mean by that is i've always had a clock built in and i've always been very aware that my time on this planet is limited that your time is limited, the time of a puppy is limited that a beautiful flower is only going to last so long. those are the things that keep me in the present make me enjoy the state of thing that they are. it is true. every single day i think mm-mm, one day less. that means enjoy this day, drink it in, look at it, feel it, touch it. it makes it all more precious. >> rose: it's not that you worry about death constantly, you are making death to know that inevitably it will come so therefore life every day. >> yes, exactly. >> rose: let me ask you one last thing. i haven't seen one of those in a long time. >> i've been wearing it for

years. it's one of the few style affectations that a man can have. cufflinks, a time pin. >> rose: and black is a good color. >> black suits me. i think the important thing is to figure out in life what you feel comfortable with and what looks good you. >> rose: this is a uniform for you. >> absolutely a uniform. >> rose: black suit black tie. >> i came with a tiny bag because i have two suits and four shirts the same payer of shoes and two ties. >> rose: that's how you travel. >> that's all i need. >> rose: good luck on the film. >> thank you very much. >> rose: casey affleck is here. he stars in kenneth lonogan's new film called manchester by the encephalopathy he plays a nice janitor who is forced to return to his home town after becoming the legal guardian of his teenage nephew. tony scott of the "new york times" writes that affleck gives one of the most pierce screen performances in recent memory. here is the trailer.

>> if you could teak one guy to an island with you and you knew you would be safe, he was the bestman to keep you happy between me and your father who would you pick. >> my daddy. >> i think you're wrong about that. what happened to my girl. >> which part are you having trouble with. >> i can't be the guardian. >> your brother provided for your nephew's up keep. i think the idea you would relocate. >> to where, here. >> it was my impression you would spend a lot of time here. >> i'm just a back up. >> nobody can appreciate what you've been through and if you really feel you can't take this on it's your right. >> shut up. >> can't take your order until you unlock the door. >> you can always stay with us

if he wants to come up weekends. >> do you want to be his guardian. >> he doesn't want to be my guardian for christ sakes. >> hello. m sorry.ted to call and say how is patrick doing. >> it's actually -- the. >> working hard. >> you don't want to be my guardian it's fine with me. >> it's not that it's just the logistics. >> i've got my girlfriend here and two bands. why do you care where you live. >> i said a lot of terrible things to you. >> my heart was broken and i know yours is broken too. >> no, you don't understand. the. >> something is wrong with me.

>> do you want me toal california your friend. >> i don't know. >> what do you want me to do. >> i'm not going to bother you no more. i'm going to sit here until you calm down. >> i'm calm now. would you please just go away. >> rose: this is remarkable and congratulations. >> thank you. >> rose: you can see you know the reaction. you feel strong about film. your performance. the performance of who was there. how did it happen. >> i knew kenneth because i was in a play called this is our youth which is on the was end in london and i got to know him very well. he wasn't directing but he wrote it, he was there every day and it was an incredible experience, a very very bright guy about many things. one thing is very smart about his acting, storytelling. so mairch tained a friendship

with him for 20 years and i've done several other theatre things with him. at one point matt asked him to want to direct a movie and asked kenny to write one for him. so kenny wrote him a script and matt decided he wasn't going to direct it. and that also he wouldn't be in it. and so ken asked me to do it and i read it and immediately said yes. he sent it to me, i started reading it, i hung up the phone with him, i read it straight through and i laughed and i cried and i knew it was a beautiful piece of writing, and so i called him right back and said of course. i would have said of course had he sent me nothing because i have that much respect for him. and i would do just about anything with him. but i said yes and he said, i said okay great when do we start shooting he said not so fast i'm not sure we can raise the money. so then we set about trying to raise the

decide such things they said this is really a $2 million movie. and kenny didn't want to do it for that much and i said we can find more than that. we can find more than we need to make a movie. i can't believe when there's a script this good that no one will make it. so i called someone who i had been involved with another movie with who knew a finance sear. i said can you send this to kimberly stuart who was looking to make movies. he sent it to her and she agreed to do the movie and she spent about $6, $7 million on it which is what is need to do make it the way that kenny want to make it. and we made the movie. >> rose: out of which studio. >> well we made it independently. she just paid for the whole

thing by herself. and then amazon saw it at sun dance. they've been amazing. it's been a dram relationship with a distributor. they supported the movie, they never asked for changes to be made. they have found a way to get this little movie out into the world, looks like it has some sort of audience that's enough attention on it. but now it's up to the movie to perform. >> rose: it's more than that. you hear what people are saying about this. master piece is something you don't throw around. >> some people throw it around. >> rose: sum do. >> but not the ones that talk about us. >> rose: you have to show up with something really fantastic for them to use the word masterpiece. why? what is it about the film that you think is so compelling. >> a movie is made by so many people, a lot, a big group of people. and they're all doing their jobs anden, you know sometimes you

start with a first-rate script and even if you have a first-rate script and a poor talented experienced director, you still, you don't know what you're going to end up with and that's basis the nature of making movies, everyone has to contribute in such a way in that it all amounts to something. it's kinds of a mystery. maybe there are other people with more experience or just smarter can say this is how this gets done, this is why it worked. from the moment i read it i was a little bit confused why it worked so well. this doesn't follow a formula and the telling of a story. it doesn't have the kind of moments you would expect from a movie like this to v you might expect these two characters who are forced together who both suffered some loss to save one another in very reparticularrable way and to have some cathartic movie and

climax of the movie where both of them sort of moving on to warmer climes and happier place in life and it doesn't have that totally. so it is a yak movie in that way. i think it works because a combination of all the little elements, all the things that everyone contributes. >> rose: you're playing a guy who is emotionally closed off. >> well, i guess i'm playing a guy who is, i never thought of him that way. >> rose: how did you think of him. >> i thought of him of something who had such strong feelings inside of him that he had to sort of bottle them up or else he would just fall apart. he suffered a loss in his life that is so great. the kind of thing that most people wouldn't want to survive. and he survived it. and how is he going to carry on. he tries to kill himself at one point and then he decides to

live but he lives in a in such a way he hasn't have to think ever about his past. and he's doing that because he wants to, he's a very responsible person and he wants to take care of his brother who is sick and his brother passes away and he has to take care of his nephew who is now has no one to take care of him. and i think that he is, there are many things in this movie where i sort of thought, i felt like it was almost too difficult to contain the emotion and the because the nature of the part but the film has a lot of restrength and kenny shows great restraint in the way he shot it. in our conversations about how to portray the character, it was clear that he want to have the character to be a very very emotional person who is dealing with an enormous amount of sadness and shame and grief and

just sort of overwhelming at different moments. but always to keep a very tight lid on it and let it only out and a few moments in the movie to just sort of lift the lid off and show what's inside the pot and close it back. that might be one of the reasons that it's so emotional watching it. i've seen it at the new york film festival and i was surprised at the amount of people i would hear crying in the theatre. no one really wants to cry in a movie theatre audibly making noises so you know if that's happening that they are, it's not something they're in control of and that means it's a really emotional experience for them. so i guess it worked. >> rose: it did in terms of the response. it's a bit about grief, a film about grief. it's a film about change, it's a film about what else would you

say? it's a film about being a substitute parent. >> yes. it's about the possibility and it's about, i'm a parent, i've got two boys. i don't think that i would have understood the movie if i didn't have kids. so i know that that's a big part of it. it's also about kind of about how, it's the kind of thing it's hard to sort of say succinctly what it's about and my favorite are like that, whatever they are. it's hard to distill it to one sentence kind of a thing. this is what the movie's about but yet shame and grief and loss and responsibility and love and how those things are mixed together and how the best memories are mixed in with the most painful memories, the love of our wife and kids. those are our happiest memories

and also it's our children to be lost and those are the most painful memories and the movie is told in such a way it jumps back and forth through two periods. all of these memories and what's happening to him in the present. and so it's all sort of jumbled up together this pain and joy. >> rose: and the reconciliation with his wife. >> the semi reconciliation with his wife. he's come back to the small town to take care of his nephew and he hasn't seen his exwife in many years. they both, they went through some terrible tragedy together and he's terrified of running into her. that's one of the reasons he doesn't want to be there. there are a lot of sad memories. >> rose: he dismentd want to come back to manchester by the sea. >> he doesn't want to return to has not chester by the sea because of all of these difficult memories and is tair -- terrified into running into her although he loves her very much. he doesn't want to hurt her and he doesn't want to be reminded

of, you know, all the things that happened to them. >> i don't have anything good to say. i know you've been around. it seems like he's done pretty good, considering. >> i think he is, yeah. >> i guess you don't know this but i really kept in touch with jeff and it kind of makes me nuts he and patrick. okay, i don't even know. >> you could stay if you want. >> could we have lunch. >> you and me? >> yeah. >> rose: it's a great performance too by the lucas hedges. remarkable performance. >> he's a very talented. he's a young kid.

he's no charlie come lately. he's experienced, talented. his father was a director, really good director. and he's been around movie sets and he steps right on. he's 17, he had his mom there the whole time. she was lovely but he was completely handling the situation on his own. and he's terrific in the movie, yes. >> rose: your brother's not only an actor but also a producer and a director. do you wish for those kinds of additional roles as well? >> >> well sometimes. i think as an actor you get to a point where you realize or for most actors if you want to get really good parts, you might have to make them up yourself so he tried to start writing. he tried to start getting books and plays and other things and controlling those properties so that they won't be made by the 20 other people who are more popular actors than you are. and that's sort of what i've done.

i have a production company and we just try to find material and turn them into tv and movies. mostly for the purposes of being able to do better stuff that otherwise would go to other people. i directed a movie that was a very small movie a friend of mine, joaquin phoenix who started in it. it was a mockumentary. that was unconventional in its methods and structure and everything. and it got some very very good reviews, i might say. and then it got a whole lot of bad reviews. there are a lot of people who didn't like it. we were really happy with it and so that was the overall good experience and i would like to try doing that again. >> rose: do you look at this role, this role. when you read it and then when you were there on the set and when you see how it's unfolded, you see yes, this is why i'm an

actor, this is what i've been looking for, this is the kind of thing that makes me feel whole. >> yes. i do. i said when i read it, after i read it, i thought this is what i want to do as an actor, these are the kind of roles you wait for, it's complicated. part, big part of an actor's job is to show up that day with the appropriate feelings, you know so that you're sort of the character supposed to be having for the scenes of that day. someone else has written all the words you're going to say. someone else has decided where the light is going to be in the room. this is your job is to understand what you're saying and what you're feeling and why in some cases. in some cases you're supposed to just sort of have some strong feelings and you don't have to understand them. when i read that i thought this is an opportunity to play a lot of different things. and to do in a style that i really like which is kind of naturalistic, it doesn't compel you in every moment exactly what he's feeling but he's having

those feelings inside and also the dialogue, the character is very terse. he speaks to people, he's curt. and so it's a chance to fill all the silences and all of these sort of one word answers with a lot of feeling as a sum plevment to the things that are in the script as a way of saying this is also what's happening inside but you can't write on the page. and to work with someone like kenny lonagan one of my ferrets. you can count on me and margaret toward real masterpieces from the movies i've watched over and over again. it was an opportunity i said yes to. >> rose: it's interesting. you watch them over and over and over again looking for different meanings in the film looking for different nuances, looking for. >> all of that. sometimes just watching and seeing what happens. i watch over you. there are things to discover in a script or a movie that's done with care and with depth that you don't find the first viewing

or the first reading. i find that over and over again. if you can, if you read something once and you read it again you don't find anything else it's an indication that you might never find anything else and should probably not do the movie. i go over times a play kenny's written or even a play he was if i thought oh wow there was a whole different take on that scene could have explored. >> rose: how does he, how did he make, how did he help make this performance that came out of you? >> he likes actors and has flirtation with actors and is open to them doing things their way and bringing their own experiences to bear on the parts talking to them about their life. here's a scene where a man finds, goes to the hospital and the doctor tells him his brother's passed away.

what is your impulse about this moment. what's your instinct, how should this be played. >> rose: does he ask you that or do you ask him. >> no he asks me. he likes to help. >> rose: you go to the hospital and you find out your brother's dead and you find out later that he's left you with a certain responsibility. >> right, yes. so first you think okay well, who is this guy and what is he bringing from his past to this moment. well this is a character who he lost his children some years ago. and so he's going to react in this moment very differently. well how differently. what does that do to someone. and i think he doesn't want to deal with anybody's, anyone's sympathy. it's a reminder of things from the past. he doesn't want to, he doesn't like the way, to feel like people are, he doesn't want to let anyone in. he controls the situation. he drives the conversations so that they don't go into an area

that is too painful for him. so those are the conversations you start to have. >> rose: it turns out these are the be things ever happens to him to give him an opportunity to recover. from what had been a devastating occurrence in his life. >> yeah. >> rose: this presented an opportunity. whether he saw that at the moment or not. he saw it as a kind of reluctant responsibility. >> yes. i think he saw it as something he's incapable of doing. i'm not capable of being a tear -- caretaker i can't take of somebody else. >> rose: because of what happened to me. >> because of what happened to me. i have to find another way taking care of this kid. someone else is going to have to do. i can't talk to this kid and do all the things a parent has to do. but he's stuck with it and i guess it results in a positive change for him. >> rose: you'll spend, what is it about acting that you like

so much? is it to be able to presented yourself and say this is an interesting guy who is going through an interesting thing, you know, a life-argumenting experiences. how do you get inside of that and how do you now convey to an audience of actors what it is he is going through and how they make connect to some, something that resonates in their life. >> yeah. well that's a lot to take on at the beginning of a job. >> rose: you thought i'll just read these lines. >> i think some of it you have to leave to chance a little bit. but the first part, what i liked about being the actor i guess part of me wants to say i have no idea. another part wants to say i don't like being an actor. another part saying god i love this more than anything, being

an actor over anything else. lastly i would say that i think that i really just like thinking about why people behave the way they do. and that's it. like you sit down and you read a script and you say why does he do this, what if he did this inside and what does it say about him. it's the kind of things that are very hard to articulate and people write giant textbooks psychological textbooks about it and you can do it with a glance and that's fun. >> rose: you have, delving into career. people have known how good you were for a while. >> who? can i have them on the show? >> rose: surprise surprise. bring them out here, here they are. >> they can all sit around the table. >> rose: no, no. you have known you were really good. you couldn't be that good without knowing. truthfully. >> i'm not sure if you can be that good and know it.

i think it may be the case. i look at other actors and i think boy if i could do that, that's something else. >> rose: oh give me an example of that. >> oh, one actor. sean penn. daniel day lewis, marlon brando, the obvious. >> rose: what do all of them have. >> they all have i think a real, an ability to seem like other people in a realistic way, in a way that not just showy but in a way with empathy and it let's the audience in and you understand them a little bit better and you then therefore kind of understand yourself or you leave the movie or the play and you think oh my god i really understood that person, i feel for them and everything they've been doing. you've been moved for a minute and you've been provoked to some thought, whatever the thought might be and your life overlaps

with their life. and in some way movies and drama, it's a bridge between people and even cultures sometimes and that's what it is at its best and it's why we've been doing it since the beginning of time. >> rose: congratulations. you just described what you did in this movie. >> thank you. >> rose: it's true. that's exactly what you describe they had is what you did in this film. and you know that. >> i hope so. it's always difficult to watch yourself, see it objective and see what it is. i also hope i have many years ahead of me and other roles and any time you work with kenny or david or or my brother -- >> rose: speaking of your brother. do you two have a different idea about fame. >> about fame? >> rose: fame. >> probably not. he might just have a higher tolerance for its negative

aspects maybe. >> rose: tolerance meaning what. >> meaning he can tolerate more of the stuff that comes along with it that is undesirable. and maybe a greater appreciation for the things that come along with it that are desirable. but no, i really, it's not something we've talked a whole lot about so i wouldn't want to put words in his mouth. and listen, there are a lot of challenges that come along with any career that you choose. it's, if you dabble, if you get outside of the bubble of hollywood, you find that having to deal with fame is not as hard as what a lot of people are doing in the world. >> rose: not a problem. >> not a propose. >> rose: compared to a lot of people. >> big problems. >> rose: and they're worried about food and shelter and illness and a lot of other things that have nothing to do with the simple -- >> survival of the family. >> rose: i agree with that. >> you look at your own

problems. >> rose: i hate people whining about things by the way. >> me too although i've been known to do. >> rose: yes, you have. everything begins with recognition. >> yeah. you know, i wouldn't care so much. honestly it's about like your kids who didn't ask for it. they don't want that kind of exposure and you see them in the way they're growing and developing and you see, that is not a positive, it doesn't have a positive effect on anybody. it's something i put up with because i love doing movies. i love also this. i love coming and talk to you. it's like what an opportunity to have these conversations and there's a lot of them and they come along with a certain amount of notoriety or success or whatever it is and i'm willing to make that trade. but they aren't. my kids don't get to come talk to you as far as i know. so it's not really fair. >> rose: after this they may

be interesting to talk to them. >> they'd give better answers, that's for sure. >> rose: congratulations. it's great to have you here, it's great to have a preciate it. aving me.m. captioning sponsored by rose communications captioned by media access group at wgbh access.wgbh.org

>> rose: funding for "charlie rose" has been provided by: >> and by bloomberg, a provider of multimedia news and information services worldwide. >> you're watching pbs.

the following production was produced in high definition. and their buns are something i have yet to find anywhere else. >> cause i'm not inviting you to my house for dinner -- >> -- breaded and fried and gooey and lovely. >> in the words of arnold schwarzenegger -- i'll be back! >> you've heard of connoisseur -- i'm a common-sewer! >> i knew i had to ward off some vampires or something. >> let's talk desserts