. >> welcome to the program, charlie is away tonight traveling on assignment. i'm jeff glor, cbs news. we begin with the film jackie, a.o. scott of "the new york times" spoke to director pablo larrain and the film's star, natalie portman. >> it's interesting because she was so well-knownment but i feel like one of the things we know well about her was how private she was and how much she protected her inner life. that is one of the most famous things about a famous women. >> and the mystery on the film making, on capturing what natalie was doing, and that we allowed her to create the illusion of what we were looking for. and what i think is very beautiful is that show she was trying to organize something that she ultimately wouldn't be able to control. >> we conclude with charlie's conversation with singer songwriter regina spektor.

>> when i touched the piano, it is instantly-- it's like being woken from a dream and you kind of remember the abstracted sounds of your imagination but this is a real-life physical thing. it has hammers, it has strings, it was built. and so you are translating yourself, you're kind of translating your soul through these physical objects like violins and voice and piano. so i just kind of explore as much as i can because trying to reach those imaginary colors and not just completely ignore them but be in the real world is a struggle. >> the new film, jackie and the music of regina spektor when we continue. >> funding for charlie rose is 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. >> good evening, i'm a.o. scott of the new york times filling in for charlie rose who is away on assignment. it's been over 50 years since the assassination of john fitzgerald kennedy shocked the nation and changed the course of history. a new film from director pablo larrain tells the story of the assassination and its aftermath from a different point of view. here is the trailer for "jackie." >> people like to believe in fairy tales. >> ready? >> of course. >> and you?

>> i believe that the characters we read about on the page and them being more real than the men who stand beside them. >> and thank jack, jack, i love you, jack. >> people need their history. they need to know that real men actually lived here. >> there is a great divide between what people believe and what i know to be real. >> how would you like to be remembered. >> to be more shall did soldier. >> why are you doing this,

mrs. kennedy. >> more crying. >> this is making us look like bar barrians. >> you don't have to do this. >> i will watch. >> present. >> i am not the first lady any more. >> i'm guessing you won't allow me to write any of that. >> no because i never said that. >> joining me now is the director of the film pablo

larrain and natalie portman who portrayed scrak lynn kennedy, i'm pleased to have them both at this table. welcome. this movie tells or revisits a story, a moment in histories that's very familiar. people who were alive then remember exactly where they were. we've seen the-- film. so what was the appeal of going back into it, and what did you, you know, what new dimensions were you looking for? >> i'm from chile so i'm not directly related to the story. but i was invited to this opportunity to sort of get into this woman's life, i think, which is what the 23eu8 am sort of did with them, more than, you know, there is of course a first lady side and there are many jackies, i guess, in this movie. but the with unthat really attracts me was the story of a woman, and ultimately a mother, a story of somebody that was initially protected by all the people and she ends up protecting everything that is

around her. and it is a very beautiful sensibility there. and i think that's what we try to grab and catch and share with the audience. >> natalie, what was it like for you? this is one of the most famous women in american historiment and yet she's also someone enigmatic. she's someone who we have seen in, you know, in the photographs. we've seen in the pink suit and pill box hat. but who we don't really know. i mean how did you find your way into the character? how did you discover the di mentions, the kind of intimate and emotional and personal dimensions that we see in the film. >> i think it's interesting because she was so well-known. but i feel like one of the things we know well about her was how private she was and how much we protected her in her life. one of the most famous things about a very famous woman. so it was scary to take on someone that everyone feels like they have a handle on am but of course that there is very little out there.

but amazing, amazingly, youtube is this incredible resource now where they just a sort of treasure troaf of old interviews and even from early campaigns, where you can get a sense of when she's a little rougher, less polished, and then of course when she's much more polished in the white house which we recreated. and then of course, the books that basically every person in her life wrote about her from the nanny to the body guard. i mean every single person had their own book about jackie. so there is a lot of clues. >> how important was the voice? it is very striking in this film. the voice, and i realized watching it that while you know her husband's voice, jack kennedy's voice is a voice that you can just hear in your head and kind of cum on up, her voice is less well-known and is also

very particular, it is just not a matter of dialect approaching and getting some kind of regional accent. it's a very-- i don't know if anyone talks like that any more. if very many people ever did. >> right, no, that sort of as operational midatlantic, you know, movie star kind of accent and breatheiness, combined with the sort of like long island bou vier, eck sen trissity, allowed for-- i mean it's pretty funment i think the first day i did it on set i saw pablo go, like white. >> to beginning with it was very scary but we got used to it but then he wants the real thing and you're like. >> i mean how is it to play, to try to play a real person who is so well-known, who is such a kind of almost myth logical presence in people's lives and in kind of collective national

memory? i mean how, one what are the challenges of going inside and finding the person, kind of the emotional dimension of that person's experience. >> well, i think pablo's approach in trying to see her as a human and allowing, not as an icon and allowing the moment of real imagination and having that sort of license to go places that you wouldn't do with someone you revere, necessarily, the questioning of god and you know, all of these things that we wouldn't necessarily associated immediately with jackie, were helpful, in creating more of a round human being but i think the biggest challenge is probably when we had to really you know, like recreating the-- film which we didn't re-create that, obviously it's different camera work, of

course. but we know exactly what she did facially and physically. and it's this extreme emotional moment that you are limited by the truth of something that people are very familiar with. so those scenes were much harder than like the walk with the-- there is a lot of liberty. >> and then there are these relationships. i feel like what you are watching, and what is so unusual and powerful but also disturbing about this movie in a way is you are watching both a public event, a political event. the hugely quengs act of political violence, of political tragedy, no one knows, you know, you have a sense of the kind of the chaos that is swirling around jackie kennedy but it's also, you know, this moment where a woman has lost her-- her husband and you feel the kind of the collision of the marriage and the political life. i mean-- how did you kind of organize those -- those themes

in a way. i mean did you come at it from kind of-- from the kennedy story, from the public story and try to go in or from jackie's experience and try to build out? >> well, i have to say, that we had a great script. and then i guess yeah, it's how she build this narrative. she sort of protected jfk's legacy. and made him show a legend. and without kind of knowing it or controlling it she became an icon and i guess that's one of the biggest issues and challenges here. we were just talking about that. natalie is very well-known. and the question is how long does it take for the audience to assume and to accept that that person is jackie? and it is not jackie kennedy. you know. and that's, i guess, what sin pa does. it is very hard to describe. because there is a limit on it.

and there is a an element of mystery on the film making, on capturing what natalie was doing and that allowed us to create the illusion of what we were looking for. and what i think is very beautiful is that show she was trying to organize something that ultimately she wouldn't be able to control. and that lack of control and creates a gap. and in between the resolve, that where we can work and get into. >> i think we have a clip that illustrates that, a little bit where she is talking about the plans for the funeral, you know, with jack val enti who is played by mike cassella. you see i think a little bit of what you are talking about there. >> i have come to discuss tomorrow. >> trying for a more modest ceremony. >> i changed my mind. >> i'm sorry. >> i said i changed my mind. we will have a prosession.

and i will walk to the cathedral with the casket. >> well, even if we could resume the arrangementsk i'm sure we can understand the secret service still has their concerns. >> president vn son. >> president swron son would like nothing more than to fulfill your wishes but have i to take into account his safety. the country couldn't take another blow should-- it's not the same number it were up to him he would do anything that might bring you comfort. >> and who is it up to, mr. val enti. >> well, as i'm sure you know, tomorrow we're expecting loss tho a hundred heads of state. >> i'm sure they will make all their own decisions. >> based on what? >> there is a great deal of classified intelligence that i just can't get into. there is a threat against general-- from our assets in geneva. if he refuses to march, others

may follow. >> i understand. >> as i said, mrs. kennedy, i wish there were more i could do to accommodate your wishes, i'm terribly sorry. don't be. you have already done so much. >> good day. >> mr. val enti, would you mind getting a message to the funeral guests when they arrive. >> a of course. >> inform them that i will walk with jack tomorrow. alone if necessary. and tell general degor if he wishes to ride in an armoured car or in a tank for that matter, i won't blame him. and i'm sure the tens of millions of people watching won't either. >> why are you doing this, mrs. kennedy? >> i'm just doing my job. >> talk a little bit about the scene but also what is going on behind it i mean the funeral and

the plans for the funeral which jackie kind of keeps changing her mind about is one of the key sort of dramatic central issues in the movie. talk a little bit about what is going on with her. and what she is trying to do and how her thinking and her feelings evolve around that. >> yeah, so it's like i were saying it is crazy to experience something so traumatic and devastating and terrifying personally and also have to worry about a country at the same time. and it's one of the things that is so remarkable about her is that she was so aware of it immediately from the moment it happened. she refused to take off her suited that was drenched in blood which was to be in the moment and recognized that you your image is porpt for people and that that is going to help tell the story of what happened. it was an incredible presence of mind.

and then initially she wanted to have this is big prosession to sort of you know, sort of mirror the link lincoln funeral prosession was in order to have a legacy as lasting and as important as lincolns. but then of course it's terrify ing because he just got shot on her lap, in that kind of crowd atmosphere. and when we were filming and some of the real places where they eventualitily did the prosession, you see there is just, you know there are windows and rooftops. there's just thousands of places for someone wishing. >> she knew what she was doing, it is so fascinating am she looked more naive, i guess, but she had an incredible sort of communication and political sense. and i don't know, all this feels that it happened so long ago and it's not like that and fidel

castro died a couple of days ago and they were struggling with that. and what jackie did was, you know, she would keep the pink dress so people would know what happened. and she would then walk out in open air for eight city blocks from the white house to the church. and she would be totally exposed, walking in the eyes of the world. and so people would know. and she would know what-- what she was doing. and there is something on that control that i think is interesting. because it feels very natural but at some point i think she knew what she was doing. and that is interesting because its he-- it's, that is what the movie is about. >> well, yeah, and it's about because there are these moments where she does seem to be asserting control and she's very much a political player, you know, dealing with her late husband's brother and with the

johnsons and with the whole complicated washington situation. and there are also other times where she feels so isolated and so alone and so vulnerable. and just like, just like a woman whose husband has suddenly been killed. and there is something about that, the way, i mean, the story about a private personal grief but also about this enormous public event. and about how quickly i think people start competing for control of the story. as soon as something happens, it, you know, the question becomes well, whose narrative is this going to be. what is my role in it it. >> yeah. >> let's look at another clip. speaking of that, with a scene of jackie and bobby. who is played by peter saarsguard.

within do you know who james garfield was? >> no ma'am. >> do you know who william mckinley was or what he did? they were both u.s. presidents killed while they were in office. and what about abraham lincoln, do you know what he did? >> he won the civil war. he abolished slavery, ma'am. >> that's right. thank you. bobby, please tell ben i want the-- about lincoln about his funeral. >> this is -- this movie is, i mean it's about an assassination and a transfer of power. but it's also about a marriage. and what did you find out or how did you come to think about, i

mean this is a marriage that has been digs sected and talked about and written about endlessly in books and articles. and you know, we might think we know all the secrets of it. but what do you felt like you learned about jack and jackie in the course of making the film? >> well, it's one of the most interesting aspects of the story to me. because she-- she is a woman who really designed herself sort of in that era, through her husband and i'm-- and took that role on for herself and thought the most important thing in her life was to be her husband's wife and to be the best wife to him as possible. and she says, we have her in the movie which is like, which is a real quote, that it was their happiest years in the white

house because before she had been seen as the sort of liability to the campaign, that he tried to hide her away because of all of her sophistication and chick and everything was sort of alienating to american voters who wished to see her with flower flour up to her elbows baking. and then when she got in the white house, she became so popular and women started emulating her and doing their hair like her and trying to learn french like her. she set off a craze which you know pablo found this amazing mannequin, all these jackie mannequins that he put into the film. and so she-- she was so happy because he finally valued her. and that made her feel better than ever. and then of course the assassination not only does it take away her husband, of course, and the grief with that, but then it takes away her

identity. as a wife and then to have to reestablish that, which she does, despite her own intentions, you know, she cannot help be herself and she cannot help but assert her humanity, her independence, her complexity. but it's wonderful to see that a woman who has internalized everything that society has given her, what woman should be, can't help but be incred bree strong and powerful and complicated. >> i mean did you find some time that as a woman of the present here that it was hard to get back into that reality and that mindset? and that sort of older more traditional set of gender roles and expectations? >> no. because i think we know now more than ever that we live with that

very, very deeply still. and i mean certainly i had my grandmother as that american woman and the same mold that i grew up with. and you definitely feel it as a woman still that that is very much a value. and part of your identity and part of how you see yourself. >> pablo, most of your other films that you have made have been about men. and often ordinary characters who are caught up in politics, especially during the-- dictatorship. how was it for you to make a film with a central female character and also maybe to come

into a different social and political reality, to come in to make a film, not only an american story but an american story that every american thinks they already know. >> it was hard. no, but i guess i don't know, if you think for one second what you are actually doing, it might be very promising. so if you stand there and it is a complicated issue for a lot of people. and there's a lot of historical elements that i don't necessarily control with them or know all of them. so i guess the key here was natalie, i think, was how she would sort of take the character and how we and the teams, the people, the rest of the cast were, you know, sort of we were around her. and we were capturing her all the time. i guess the biggest challenge for me was to make a woman about a woman and try to capture the-- that comes from that strength, that we don't have.

that we don't necessarily understand. and try to put that weight on her and on her behavior and her performance. and i understand that there are a lot of issues around the voice and the way she spoke and the many many things here but i think what we are actually doing here is the story of a mother. somebody that at some point you know, just openly sort of shoots and everybody feel pros tected by her. and that is something that is hard to express because that's how we make movies. we need to use that media to express things that otherwise wouldn't exises. there is no other art form. you know this very well, that could actually travel in time and create an illusion that sult matily very absurd to have all these people recreating something that you know so well. and but there is something there that we wanter too try to understand.

and since we can't do it, we keep sort of chasing that. and there is something there, i thought it was very, very beautiful on this woman's strengths and very particular, and i'm so glad i was part of it. >> can you talk a little bit, one more element of the movie d anyone who is even watchingses will notice is the music. it is very, it's a very strong score and it's used in a, i think, an usually-- unusually expressive way. you say something about kind of how-- i think it does help to complete the picture, you know, to give a kind of-- some of the emotional power that you are talking about. and to help us see that we're seeing a story, maybe a new story, maybe in a way that we're not expecting to see itness with well, the british composer did this incredible soundtrack for us. and yeah what happens also is that the movies is divided in different yakies, and moments of

those eight days or ten days. so they are lies slices of memory, pieces of her life and the music helps to put everything together, to unit everything and all those ideas seems to be so separated thanks to the music, it seems to be one thing. even though the music is very different, but what it really does is it creates a sensation and a mood, not only by storytelling but the atmosphere. it helps to create that emotional extension with the audience. very unsettling sometimes. and sometimes you can really relate and sort of feel comfortable with it. but it would never, you know, it would never be very easy, i think. it's something that you are getting, you are away from it, you are close again. you will feel protected and close to it and then feel unsettled almost like disappointing.

and it. >> it matches what the character is going through also. what the audience is feeling but also i mean as it goes back and forth in time from the immediate aftermath of the assassination to the interviews that she is doing a little bit later with the journalists, to her memories of her time with jack. there are so many different emotional notes that you have to strike. and yet show being the same person. and what, i guess just to wrap it up, kind of your sense of who jackie is, having come through this, or was, having gone through the experience of becoming her, or at least pretending to be here. >> yeah. well, i think it's almost impossible to say who anyone is, even yourself, you know. it's a challenge to say it about

someone, you certainly have never met. it's lard. i mean i guess the best is she is still a mystery to me, with a lot of really impresessive life experiences and acts that she did which are both brave and at times meek, at times wild. i mean she really-- it's complicated, i think a complicated person. >> i think you capture that beautifulfully. the movie is jackie. it will be in theaters starting december 2-7bd. i'm so glad that it has brought natalie portman and pablo larrain to this table and that i could talk with them. >> thanks for having me. >> regaina spect tor is here, the rush arne born singer song

writer has been call her generation's joanie mitchell, equal whimsical story teller and classical meanist. tom petty called her one of the most talented musicians alive today. her latest is called remember us to live. rolling stones said the album is full of brilliant underdog songs. here is regina spektor reporting older and taller in our studio. i remember all. ♪ colored. ♪ you're back. ♪ i they were wiser. ♪ alive, inspire and aspire. ♪ to be looking. ♪ you're not alone in the dark.

♪ you need to know. ♪ every time you decide to stay the world will make you go. ♪ when all you need. ♪ to know. ♪ ♪ ♪ you were about to be fired. ♪ from being so tired. ♪ from the one. ♪ who will take your place. ♪ all the lines on your resume. ♪ everything that you never did.

♪ you know everything. ♪ and enexpwhroi your youth. ♪ ♪ i remember you. ♪ is here at last. ♪ another day no longer a dream. ♪ remember. ♪ is you're not around.

♪ you need to know. ♪ every time you decide to stay. ♪ and it's all you need. ♪ to know. ♪ ♪ enjoy your jowt youth. ♪

>> rose: i'm pleased to have regina spektor at this table for the first time, welcome. >> thank you, carlie, i'm so glad to be here. i just love you and the show very much. >> rose: thank you so much. we're honored to you have her. >> thank you. >> rose: and congratulations on this. >> thank you. >> rose: quite something. does the reference to joni mitchell please you? >> oh, very much so. yeah, that's-- i mean to me she's one of the most incredible and unique musicians and when i discovered her music, it actually gave me the realization that i could maybe try and write some songs too. because i think in my mind it was sort of relegated, because i love so many bands like the beatles or queen or the moody blues, and then there were the russian bard singers like-- aqua java, it was all these men. and for some reason i just thought i don't know what i

thought. but i didn't think that i should be writing songs. >> rose: tell us about your musical journey. you know, from russia to the u.s >> well, i think that my journey has a lot to do with kind people who decided to help because my-- both my parents are artsts and ardistic. and they really believed in, you know, share art, share classical concerts, music was always playing in the house. and they decided to teach me music. and even though my mom was a piano teacher, she really thought that it would be better for me to study with a separate teacher, because be this i don't have this kind of oppressive childhood where your parent is your teacher and they though what you should be doing. and so she was able to help, you

know. and i had an amazing teacher in moscow. as a matter of fact, that was really the only thing that was kind of holding my parents back when they wanted to immigrate to america was knowing that i probably wouldn't learn music any more. >> rose: from the same teacher. >> from the same teacher or maybe at all. because you know, i mean you have to pay for mix education. and nobody spoke the language and they really didn't know what kind of life they were going to have here. now that i am an adult, i see what they were facing. and it's just-- it's just mind bog eling to me the strength you have to have to leave your country, leave your language, to start a better life for your children. >> rose: everything. >> everything. all your things. i mean they-- you know, the piano that i played on, we had to leave. i didn't have a piano for years after that. and the reason why i was able to

continue my studies is that my-- we moved to the bronx. and my father took a night job. and he was cumming home on the subway back to our neighborhood in kingsbridge and there was a man on the train who was older. and he had a violin case next to him. and my dad had played violin. and they started a conversation because my dad is very much a people's person. and he loves to know people's stories. and the man invited us all to their house, to him and his wife's house to hear some classical music being played because pie dad mentioned that we hadn't heard concerts in a long time. and we weren't really going to because that's not what-- that we had the money to be spending on tickets, you know. so when we went to their house, i asked sonia vargas and the gentleman was samuel mar ter, i asked her to be my teacher.

and she said of course. and that's really the reason why i was able to study music from the age of ten and onwards and have the skills. >> rose: and what did you want to be? what did you want to do? >> well, this is interesting. cuz when i was really little, i kept saying i wanted to be a composer. and it was explained to me by very nice, common sense people that it is very hard to be a composer, and you have to be brilliant to be a composer. but you could be a classical meanist if you want to. and you could play brilliant people's work. and then somewhere along that line, i stopped saying composer and i started saying that i wanted to be a classical pianist except when i hit the teenage years, the thing that i hadn't realized was that more than krur love of music, your

emotionals-- your emotions, your desperate need to play, you also had to have a talent for a certain kind of work ethic. and that work ethic is a talent in itself. and i didn't have it when it came to sitting those hours and hours. and there is that, it's like the plane taking off. you have to reach that certain kind of speed to become a classical musician which is basically an olympian of music. and i couldn't reach it because i wanted to, you know, scrib el thoughts in a notebook. >> rose: write songs. >> i didn't know it yet but yeah, i wanted to write songs. i wanted to write poetry. i wanted to read books as opposed to sit and practice. so-- . >> rose: you had did you get to where you are, so that tom petty and everybody else thinks you are so terrific? >> well, i was always humming to myself, and singing to myself, and singing a lot in the shower and just, i didn't realize i was doing it.

and then i went on this trip as a teenager to israel on a scholarship. and the trip was basically for teenagers that were interested in the arts and interested in discovering more about their cultural heritage and i was always, since coming to america, i was very interested in learning about my jewish heritage because it had been so forbidden in soviet russia. and so when we got to america i went to yu s hiv a and learned about the holidays. and it was just another part of figuring out my people's story. and when i went there, hiking in the desert was so difficult that i guess i was singing a lot to myself as i was hiking. and so all these kids started kind of hiking around me. and they said you have a really good voice. and you should try and write songs. and you should learn an instrument. and that was sort of, i think

i'm one of those people, it takes me like to the very obvious, obvious thing. and that is when i started to try and write songs, when i got back to new york. >> and you still play the piano. >> yeah, no, i-- i love playing and i love writing, all these songs are, have been brian in the last few years. all my previous albums have spanned some time, ten years of picking songs from yesterday and from you know, ten years earlier. and they have been mixed. this is all new work. and it is really hard to analyze your own work, but i felt like these songs needed to be together because i felt like i was changing. and i was sorted of in some strange way growing up because

during the making and the writing of this album, i had previously lost people in my life that i loved very much. and it was sort of my first like deep dive into grief which i had really been sheltered from. and then after that i had my-- i was prelg nant and then had my child, my son. and so all of that was this strange, i don't know, this strange experience of a new type of, blif living in a new type of reality where i fell like i wasn't-- i wasn't the child any more. i was now the parent. and i wasn't maybe carefully in the world. i was experiencing what so many

others have been experiencing for a long time. i just sort of stepped into it. and it was this kind of bittersweet welcome into this new type of reality. >> take a look at this. we'll show a clip from the music video from the trapper and the ferrier. >> the trapper and the furrier went walking. ♪ they got them for later. ♪ and they marveled snoatd and they filled up the cases for the children. ♪ but a strange, strange world we live in. ♪ the the wicked forgiven. ♪ but a strange, strange world we live in. ♪.

>> how would you describe your sound? i mean you've described it as using orchestra, or chess tral troubles. >> uh-huh. >> i think it's hard for me to think of myself and a sound. because i am generating music a lot of the time and it comes from just being in the world and oftentimes walking, especially in new york, when i walk to a place i will write. and then once that, once i have to come into an actually really write, not just in my imagination, then i have to go from these abstract imaginary sounds into real life. so i could hear sound in my head and then but when i touched the piano, it instantly, it's like being woken from a dream.

and you kind of remember the abstracted sounds of your imagination but this is a real life physical thing. it has hammers, it has strings, it was built. and so you are translating yourself, you are kind of translating your soul through these physical objects like violins and voice and piano. so i just kind of explore as much as i can because trying to reach those imagine area colors and not just completely ignore them, but be in the real world is a struggle. >> rose: how are you evolving as a musician? you are no longer an emerging artist, are you? >> i feel like i am. you know, i don't know. i think that my interest lies so much in the discover of music and just the pleasure of making

art is so great and the moments when i get to do it, i feel so privileged to do it. that that is what i think about. so it's hard to know where i am in the tra jectory of how mi perceived or what i should be doing. i just sort of think oh, this is the song, what does it need. okay, that's done. now this is this song. oh, it needs something completely opposite. okay. i can do that. you know. >> how much of your work is autobiographical? >> also very hard to know. >> because so much of the fun for me comes from the imagination. and trying to get out of my own perspective and experience other perspectives. i think that when i think of my tribe, i think of fiction writers. and poets.

and also playwrights. i really love-- . >> rose: like? >> oh, just, i mean, like salinger and chekhov and. >> philip roth or. >> philip roth too, i feel like he's much more-- well, maybe i will get there he's darker than i am. but i feel like with everything that is happening in the world, i might get there, you know. >> but it's more classical novels and playwrights like chekhov. >> yeah, and also you know, gogu l and cav ka, i feel-- kafka i feel very much at home in the surreal, that is where i feel at home. when i'm in the real world, sometimes i have to almost pretend because it seems so surreal to me. >> but there are those who say that your music is autobiographical and that this album is more autobiographical than previous. >> well, that's the thing. i think that in our world, in the ards, we have dreet created

this false divide between confessional artists and fiction artists. and then will is this narrative that the concessional people really care and they're putting their real soul into it. and the soulful and honest. and that fiction writers are just making stuff up and they're sort of arm's length but to me, a dylan song is not any less about, you know, even though it's surreal and it has images from bib i will kal and historic and all these other things that he is pulling from, it is not any less of his soul than joni mitchell who is writing from her life story. and i feel like my soul and my personal experience isn't s in everything. but if i engage my imagination, then i can look at something through multiple perspectives. as a man, as somebody who

believes the opposite than i do in the world, there's-- we have to push ourselves to look at things from other sides, otherwise we get really stuck and also we get these superyority complex. >> his destiny was just a-- so he broke it into small erbils and change. ♪ by the time he tried to buy the things he needed. ♪ he had spent. >> >> rose: this is the first time in four years. >> yes. >> is that because you were having a baby and all of that? >> some of it is that. i mean that's a lot. >> rose: he was born in 2014. >> yes. but you know, i think some of it is just that it takes-- it takes time to make ard the way that you really hear it. i mean there are songs on here that have-- have you know, maybe more than 200, 300 tracks in one song where we have sounds and layers and where we went down

one path and then scrapped it and went down another path. so it just takes time. >> how then do you create your art, how do you write a song? >> i feel like if i knew exactly the answer to it, i would have a lot more songs first of all. but second of all, i think that it's a combination of letk certain stories and certain emotions, there is like an intake process. and then an output process. and then when things kind of live through your system, and you meet certain inspiring individuals, you read certain inspiring things, you see enough stories unfold before your eyes, then you are compelled to in that moment write a song. i don't really know. i do feel like it's inspiration and then sometimes it happens and sometimes. >> when you write songs do you think of melody, do you think of

the music? or is it simply words 245 you find the music for later? >> no, i usually write at the same time. so i will go, usually to the piano and i will sing the words and play the piano and it kind of comes out the same time. and then i sort of play it over and over, maybe sometimes like 500 times in a row until it all just settles in itself. >> did you once write all the lies on your resume have become truth by now? what does that line me? >> it's really, it's really hard to say because the thing is so i just-- i just came off of a tour, right. and i was just playing these songs. i just played in the u.k. and in europe. and i was playing these songs a lot of them that are new to me from this new record. and on different nights. different lines would hit me a certain way, of my own lines

that i wrote. and i would think oh, that means this. i mean it was-- i had this really incredible experience of because i had a before and and after. we found out about the election results in the u.k. and certain songs that i had played in one way, the lines meant something else to me after. and i feel like they are my friends and i lean on them and i don't fully know what they mean but the comfort that i have of playing them year after year is that-- they mean more than i know. so i don't want to limit them with my understanding of them at this moment. because in five years, it could mean something else to me or something can happen and that line will take on a totally

different meaning. >> is this both pop and classical? >> yes. and i love, i love both very much. and classical is my home, you know. before my consciousness even like it was just there. it was always there kind of like air. >> thank you for coming. >> thank you, charlie. >> rose: great to have you here. >> thank you so much. >> rose: the album is called remember us to life. thank you for joining us, see you next time. ♪ the grand hotel. ♪ ♪ look at the courtyard. ♪ at the gardens. ♪ where all the bellhops.

♪ there's a deep well. ♪ needs a good spring. ♪ where the devils dance and kiss. ♪ ♪ they look in the grass is. ♪ play in the grass and at the grand hotel. ♪ you should be a fancy chef. ♪ swim in a pool. ♪ stroll the gardens shady and cool. ♪ take care for the devil,.

♪ the grand hotel, no one comes down for the souls any more. ♪ and. ♪ ♪ in one sleeps at the grand hot elevator. ♪. >> take a peak? ♪ call you up your friends.

♪ all of your friends. ♪ at the grand hotel. ♪ the friends at the grand hotel. ♪ for mo about this program an earlier episodes visit us online at pbs.org and charlie rose.com. funding for charlie rose is provided by the following: captioning sponsored by rose communications captioned by media access group at wgbh access.wgbh.org >> and by bloomberg, a provider of multimedia news and information services worldwide.

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