i'm playing characters with a

slightly different attitude. i think even with "gladiator" and in "beautiful mind" as well still had a nervousness about the day's work, you know. that's not there any more. when i walk towards the set in the morning i'll quite of th of have a sense of pleasure because it's where i should be and what i do. >> charlie: russell crowe for the hour, next. funding was provided by the following: >> charlie: additional funding provided by these funders:

captioning sponsored by rose communications from our studios in new york city, this is charlie rose. >> charlie: russell crowe is here. he's an actor of many dimensions one was written he s been nominated for an oscar three times and won for his performance in "gladiator" here's a look at some of his work. >> tell me where she is. >> i have this under control. put the weapon down.

>> the process is known as impact boosting. while spiking nicotine and clearly manipulate it. there's extensive use of this technology and it allows for a nicotine to be more rapidly absorbed in the lung and affect the brain and central system. >> commander of the armies of the north. loyal servant to the true emperor. father to a murdered son, husband to a murdered wife, and i will have my vengeance. >> if we all go for the blond and block each other, not a single one of us is going to get her. so then we go for her friends

but they will all give us the cold shoulder because nobody wants to be second choice. what if no one goes for the blond? we don't get in each otr's way and we don't insult the other girls it's the only way to win. that's the only way we all get laid. ladies and gentlemen, we have your decisions. it's unanimous, winner and the new world heavyweight champion -- >> i got possession, apply conspiracy, i got people that will want you killed in cold blood. i have bank accounts, real estate, business all bought with

money from heroin. i have hundreds of parents with dead kids, addicts that o.d.'d on your products. that's how i make it stick. this man killed thousands of people. >> charlie: his next film is a suspense thriller written by paul hagis here is the trailer. >> now you say go. >> i got it. >> you're under arrest for murder. >> look for the evidence.

>> it doesn't matter what we believe, laura is not getting out. >> think you'll ever kiss me again. >> my wife -- >> i promise you this will not be your life. >> what do you want to know? >> how you escaped when no one else could. >> have you to have the entire plan already in place. you have to ask yourself, can you kill a guard, leave your kid at the gas station because that's who you have to become and if you can't, don't start. it will just get someone killed. >> show me where the bullets go. i need some passports. >> you want this too much. you're going to screw it up. >> back in a moment, okay?

>> okay. >> why are you doing this? >> because very no other choice. >> police have the entire city sealed tight in 15 minutes. within 35 minutes they're going to have cops at every toll booth at the interstates. >> what if he can't get out. >> they'll shoot you on sight. >> charlie: i am pleased to have russell crowe back at this table, welcome. >> thank you, charlie. >> charlie: good to see you. >> thank you. >> charlie: tell me before john brennan in this movie? >> he's an english teacher or english professor if you want to call him that at a community college in pittsburgh. he comes from a work class

family. dad was probably a steel worker of some sort before pittsburgh changed its nature. has a very deep and unshakeable belief in his family particularly in his wife and that brings about a situation where he steps outside of himself and the great question that paul haggis asked me at the beginning of this what he put in front of me which made it intriguing to do which said here's a guy that loves his wife but in order to save his wife has to turn into someone that his wife can no longer probably love and i just sort -- >> charlie: that's intriguing to you right there. >> i sat with that a couple days and thought that's really cool. >> charlie: so his wife has been put in prison for murder.

>> it's a normal family with a little son and one morning there's a knock on the door and it's the pittsburgh police and his wife gets arrested for murder and after three years of appeals and trials it's decided that by the court that she is guilty and she's going to serve 20 years. but he doesn't believe that. he doesn't believe the person he married is capable of doing what they say and whatever circumstantial evidence is brought up he has that unshakeable belief. >> charlie: in fact, there's a moment exasperation she says i did it and he says i believe you. >> that's part of the disintegratio disintegration at that point these been in prison for three years and trying to be courageous and saying to him, look, cut me loose. i'm done. just look after our kid and go and enjoy your life.

that's what she's trying to do, you know, but he doesn't fall for it. >> charlie: and he's therefore prepared do anything because he believes in her and their love. >> believes in her and understands the difference between legal and illlegal but also has very pittsburgh sense of justice as well. >> charlie: this was based on a french film? >> yes. >> charlie: did you watch that before you -- >> well, you think i would, wouldn't you? >> charlie: i wouldn't think anything about you. i make no assumptions about you. >> i put it on and watched it about ten minutes -- >> charlie: and? >> and it starts quickly and the movie has a pace to it and i was really engaged an stopped it and i thought i don't want to fall in love with the movie because i've already fallen in love with the script and i don't care how

they solved their problems and i haven't watched it since. >> charlie: help us understand the process. the actor's process. so paul's presented this great question which you're intrigued by. >> that came off the back of having already read the script. >> charlie: you saw it and you liked it? >> probably the best read in terms of that act of reading that script since i read the scriptor beautiful mind sitting in a porch in austin, texas. you can't know what the details are about when you see them as an audience member and later you see that minute things have a grand effect or dangerous effect or positive effect. things that you think can't be thought through when he you don't know what an english professor can get up to.

>> charlie: yo so you have to m this guy believable. >> i never read it as a thriller. >> charlie: you read it as? >> a love story. i said to my agent george freeman who i've been work on 20 years i said to him that's a great love story man. in his eyes, in her eyes in, in the relationship with the child and the physical connection so easy and natural. it was -- interesting journey to undertake but for me it's got to be on the page. and i've taken risks in the past where it's not on the page. >> charlie: and? >> and i've had strong instincts about something. "gladiator" was one. the script, forgive me for the original writer but it was terrible. they had a whole sequences where

the difference between one chariot and the other chariot was explained on the difference on the basis of maseratis and ferraris and the sequence of the gladiators which was true but nobody today would take take endorsement monies and it's like 180 ad or 184 ad and a roman general and roman scott's the director. that was at that particular stage -- i'd just done "mystery alaska" and followed th the "insider" i was going to australia and they wanted me to meet ridley before the plane and a read it and i was like that's

ridiculous but there's the thing of having seen his work and a few decisions i made on my career have been on the same basis is that well i won't be making another one of these for a while so if you don't take it now -- >> charlie: either you've got to like the script a lot or b, you've got to really want to work with the director? >> either the narrative is complete on the page or the potential of that narrative is so clear that you can take a risk that you'll grind it together and find it, you know. and my conversation with ridley he was all about visual aspects. he showed me a painting by jerome i think and then a few other things and just talked and such a robust quality to it, you know, and i talked to him about a few details and he just said things like, that will be great. do that.

>> charlie: trust you. >> and all the way through the process of making that movie we were finding the things that people remember from that film and i mean, you're lucky if you have one film like that in your lifetime. >> charlie: in your lifetime? >> yeah. >> charlie: you've had more than one. you've had a "beautiful mind." >> that's a different film there's been some successes and great critical successes but that thing touches people on a different level. it's now ten years or 11 years since we made it and that film still plays a prime time on television. >> charlie: what do you think it is? human spirit? >> yeah, that journey's pretty full on and what i also encouraged ridley was just let me fully express him emotionally. occasionally you have people say i can't believe you won an academy award for an action

movie and i say look at it again and remind yourself what he goes through when he comes across the burnt body of his wife and son, you know. >> charlie: i remember that scene. >> i said to ridley, when we get around to doing this thing with the wife and son, that's going to be full not. and he said what's that mean? i said it's going to be torn apart. he's going to be emotionally torn apart. it's going to come from the deepest part of him and it's going to be uncontrollable, his grief. >> charlie: and you've got to be ready for me being uncontrollable. >> i wanted him to know that's how big the moment was and we got to that day on the back of malta some where and said start 200 meters down there and i'll have cameras on you and walk towards the house. you've ridden your

horse 'till it's died and came from the italian-german board to get to spain some on horse and some on foot, come across there and i hit this mark stare at your wife, she's about 25 feet away, you know, it was a pair of feet nailed to a board and he said then just hit that mark because i've got this nice lighting and i said no, i've got to go and see it. he goes, look, there's your mark look up and you're going to give me all the not you like. >> charlie: i would like to be there at that moment. >> i said i've only got a pair of feet, mate. i don't have your wife. i've go to go and kiss her toe or something, you know, and me goes that's going to look ridiculous and i said no it won't, man, i've got to get to her ridley other than that i

don't just fail her but fail her again. >> charlie: but in the end ridley probably loved it even as an attitude on the part of an actor. >> you can see him. he possesses good ideas the minute they're in the -- yeah, they're out of your mouth. he grabs them and will reexplain them to you. and why your idea works well. why his idea because it's now his idea but that's fun. the great directors are all like that. peter weir, ron howard, michael mann, i've been lucky to work with wonderful directors. >> charlie: he did the "insider." >> yeah, i do one take and i've come 200 meters, right. i'm blowing this thing up and though i said full not i didn't realize i was going to get that full on, right so i wiped a bit away because i've got 100 meters

to go and now have a spider web between this and another one and i got myself tangled up in the lines of not, go to the wife, kiss he to the and ridley goes cut. he goes a little less not. [laughter] >> charlie: roll tape. take a look at this scene from "the gladiator."

>> charlie: how is ridley different? they can explain it back to you. so they get it. how is ron howard different from ridley scott, different from paul haggis, different from michael mann? >> in order to really understand ridley is primarily a visual artist. he can matrix a room in five minutes flat and it's unbelievable. it's one sweep of the eyes and he's already knows where he's going begin and will go on after

that. all of the guys that you've listed there, it's probably easiest to to talk of commonalities than differences. >> charlie: first of all they get it when an actor has an idea. >> yeah, detail and collaboration. >> charlie: that's the thing. that's the thing all of them have. >> all of them have that. >> charlie: and different senses of visualization and one said every actor's different. they know russell crowe needs this. just needs to know you're listening. that the director's listening. other actors want to do 100 takes and have you to say to them, i got it. i got it because they're never satisfied and other actors need to know that you, the director, have confidence in them and believe in me and trust me and want me to do full not as you

say. that's an australian or new zealand phrase? >> it's just -- true. >> charlie: what do you want other than having a sense to listen. >> i need to know they're the boss. >> charlie: do you really? >> yeah, because i'm going to throw 50 ideas at you. take the ones you want and then tell me which one of those we're using and off we go, you know. i like to know that -- this is going sound silly, they'll efficiently and start on time and finish on time. >> charlie: you're prompt? your ready to go. >> i work the way the director works. if the direct shows me in the first week he's not capable of beginning at 8:00 in the morning -- >> charlie: then you're not either. >> because otherwise you create a strange tension.

if somebody's regularly half an hour 40 minutes latehan the times they set i start working towards that. one thing that soul's as an actor fo actor is sitting or waiting to work. >> charlie: you and i met two minutes before it started i couldn't sit with you and talk and do it well. >> you burn the stuff that makes it good. >> charlie: suppose as a director who you can think you can intimidate? were you intimidating? >> there was a time just a little while ago, i do have a thing about indulgence. i'm not that guy that takes 100 takes. i worked it out, i know my lines and come on the set and work on take one. >> charlie: you've given your best shot on take one. >> i go for it.

sometimes i'll improve it or shape it or then just take it this way or that way and i'm fine. if you get into double figures it's unusual. two or three times through the course of the whole shoot will i get into double figures in the whole shoot if i'm having trouble. >> charlie: so rarely ten. >> sometimes there is just a tricky thing physically or whever and i will take a few but for the most part one, two, three, off you go. you got to be ready to work. when you're an actor who indulges himself and not in the moment but when it comes to a director but in the production i've got the capability of getting 60 people to run if i say run so i'll do that. i'm going indulge myself in the power of the director.

cause the power can so easily be misused because it's supposed to be about the story. so you've got all these element around you and all these things you can use and things available to you to tell the story. recently i was working with a guy and he -- i think he was sort of upset by the questions, you know. >> charlie: that you asked. >> he said you keep asking me questions and left the set and i kind of chased him down. i said -- >> charlie: what does chasing do you mean? finding where he was? >> like, where's he gone and wandered off and when he came up to me i said what are you doing. you're not hurting me. you're not hurting any of the other actors, this is your movie. the film is a director's medium.

you walked off your own set and made it harder to complete your day. what's the point? >> >> charlie: everything i've read about you suggests taking the acting seriously. >> i have fun. >> charlie: you can take the task seriously and in the act and role and everything else but you do take the business of acting seriously. you do that. is that because it's the nature of you or -- >> let me clarify. i take my responsibility seriously. i do learn my lines. i think about who the character. i think through the details of the costume and makeup and for example in the film like "next three days," where you get beaten senseless and need degrading make up from the violence go through the majority of the film. you need to plan that and need a good relationship between you

and the director and the makeup people and the intensity when it comes down. those details, if i take that responsibility on that's what i call taking it seriously. when i'm on the set in front of the camera i like to be talking about college football or whatever. >> charlie: so you're not one of those actor has it walks around in character? >> no. 'cause it's there, if i've done my job up to that point it's there. it's waiting. and when he says action, there it is, you know. >> charlie: is it general? does it work out the way you expected it to? >> yeah. >> charlie: it does? >> i met a lot of actors that said they've done movies and had no idea it's going to be like and i think it's abdicating your responsibility and one guy would go from a to zed and do 36 takes and we were on a set where there was multiple cameras on every

shot. if he's doing 36 takes i've got to do 36 takes. i said to him, what is it, you know, what are you looking for? he goes well, if it's the theatre it's my responsibility because i'm on the stage and taking people through the narrative and story but you know i've done all these movies and they haven't turned out the way they were in my imagination and it's obviously not medium. i'm just a vessel for that guy so i'm going to do it every way i can possibly think of and believe it to him to decide later on. i said you're just creating more work for the poor man. you're abdicating the responsibility of your character. >> charlie: do you think you're different than you were five years ago as an actor? >> yeah, but the more you do something over and over you'll get more efficient at getting inside something maybe. m playing characters with a

slightly different attitude i think even with "gladiator" in that period there and probably in "beautiful mind" as well and still have a nervousness about the day's work, you know. that's not there any more. when i walk towards the set in the morning and i will quite often have most days of the week have a sense of pleasure because this is where i should be. this is what i do. >> charlie: you've known this for a while. >> a long time. >> charlie: since you were seven or eight years old. >> yeah, but i did tv when i was six another thing about eight and another day's work when i was about 12. then i started doing theatre stuff at school and started working in night clubs as a dj and from the bands got into musical theatre and the musical theatre led to a film audition,

oddly enough, at the age of 25. so between six and 25 i did a whole lot of different stuff which is about being a performer and bar work and i was a car detaylor. the list of jobs of bingo core. you know, it goes on and on. all those things fill you up as a human being and understand life from different perspectives and i think that's one of the things i bring to the gig is that i was kind of old at 25 to be doing my first film. >> charlie: the act of acting is about what for you? >> listening.

>> charlie: to? knowing what's coming? listening to a script. >> i'm not listening to how it reads in the page. i'm listening to how the other actor's saying it. >> charlie: does that mac make difference in terms of the performance. >> sure, if you're not prepared to listen and blend together similar to people singing a duet then it doesn't really work. i could be doing a scene and a guy's playing a subordinate character in gladiator and he decides he wants to be the general, you know, so instead of saying his lines in the way that you would expect a subordinate character he's barking as if he's in control. now that is going to bring a

completely different response from me as the general because i am the general. >> charlie: exactly. >> so it will go different places and you can do any given scene a thousand different ways or ten thousand different ways. >> charlie: you can do anything. play any role, any character, any time. >> probably not going play a jockey. >> charlie: you're not quite right for a jockey. >> unless it's a big horse. >> charlie: let's take a look. here's a clip. >> come on, smile. just 'till he's 18. >> great. >> you brush your teeth and that brushes them in 30 seconds. >> i love brushing my teeth. don't believe everything your mother says. >> i give up. >> and now she's abandoned you.

[ door bell ] . >> i got it. >> pittsburgh police. this is an arrest warrant. we have a search warrant. you touch me again i'm going arrest you. >> stay where us. >> this is my house. >> you're under arrest for the murder of -- >> charlie: you're watching that intently, what did you see? >> i was going through my mind i like that actor jason bige. the policeman. he's natural in the movie. i didn't like him at first. >> charlie: on the set. >> yeah. >> charlie: i thought he was terrific. >> he said something to the first ad at the party about and the first -- he's a great guy.

jason said what do you do and he said i don't usually get on with firsts. >> charlie: why do you have to go there. >> because there's a rule you have a rule with a certain level of iron you need that first assistant to be on board with what you're doing because it will help you, you know. i took him on as a bit of a project, you know. i tried to let him -- it was more that even though he doesn't like me he can trust me.

for that burst of energy he gave out there maybe it's such a situation where we can learn. but look, he's really good and very natural in the movie. there's a lot of great actors in the film. >> charlie: i agree with that and what's interesting is the relationship throughout the movie. >> he does well. he keeps a certain objectivity. he's still open to the fact he might be wrong so that's cool and the other police character, lenny james is another excellent actor. there were so many actors coming up on a weekly basis every week there was something special to work with. >> charlie: that's a great dialog. take me to the sense of you're guy knows what has to do, john brennan knows what he has

to do now and perhaps because he's a professor or intelligent guy he goes to the best. he wants to find out how to do this. he needs to know and is going to work and work and work it and work the plan and plan to work it. there's a great scene. give me the sense of that scene. >> the burden of that scene is on liam. he has seven or eight panels of dialog. he was off in vancouver making another film and came in for 48 hours to do that scene but it's a pivotal scene in the film because it basically gives you all the questions you got to ask of yourself. are you prepared to become this person, come out that scene and it's like a big big scene it's a

a perfect example of is his job really difficult if he's talking to a blank piece of wood. i try in subtle ways to r re-engage and listen with the same level of intensity and he did magnificent in the morning and came back after lunch the first take he stumbled in his lines so i just put my hand on his arm and i didn't meet his eyes, i just put my hand on his arm and i was thinking, throw that away. >> charlie: forget it. >> don't worry about it. sort of like there's no judgment. no -- you know. yeah. it's just next take. bang. perfect. >> charlie: how do you explain

that? just concentration? >> yeah, the curse of lunch time. >> charlie: wasn't going to suggest that. >> but it is. it can well be. >> charlie: get to relaxed. >> there's a certain level of intensity. >> charlie: what's interesting about that story is you taking responsibility for playing something beyond what's expected of you. this is a movie that you are going to bring home the game. you're the guy who's going bring the game home so you take real responsibility of putting yourself -- >> liam's a man's man and a very physical capable guy and need him to know that it's not on any level of competition and for him to be his best is what i desire. i don't -- i don't take any joy in him --

>> charlie: i understand that but competition's an interesting thing. so if you -- >> it's been the ruin of many a good film. >> charlie: explain. come on, what do you mean? >> when people are worried their trailer is slightly smaller or don't have this or that and it's like what's that got to do with the story. i just really respect liam as well. i said to him after ward we were having a chatt chat i knew you' fantastic actor when i saw you. and he says what is that. a movie with justine bateman. i said the barman was the most intense barman i've ever seen. it's true. he was a magnet then. >> charlie: let me show one more

scene, here, all right. here it is. >> what? >> shut up. i don't care what you say or how you say it. i don't believe you did it. and i never will. i know who you are. i promise you this will not be your life. >> good, that girl. >> charlie: yes. >> so we've got elizabeth banks in the movie. she plays my wife. and a young girl called olivia wild. she's only got a few scenes but

she's something special too. i think that's one of the fun about this movie is uniformly you have actor after actor after actor into what they're doing and helps the story unfold. >> charlie: do you do commercials? >> no. >> charlie: you don't do them what? >> i don't think it's fair. it's not fair that maximus should sell you an aftershave or john nash on some holiday. >> charlie: so the gladiator doesn't sell -- >> for some reason. >> charlie: but maximus would never do that, would he? it does say something about your own sense of integrity and what's important to you. >> the other day a product rang up and they said they want me to get involved and i put a figure on it which is just lew ludicro

and they said is that an american dollars or australian and i said pounds. it killed the conversation. >> charlie: suppose they came with a number would you have said all right, you met my number. what does that say about integrity or as someone once said the only different is everybody has a price and what's yours. >> but i'm not saying yes because it's so uncomfortable for me to even contemplate that -- >> charlie: why is it uncomfortable? >> i just don't think it's fair. people are used to seeing you as a movie star. i don't think it's smart as an actor to make yourself an icon graphic thing. the whole thing is you change between gig. >> charlie: that's you.

>> you don't have the same suit that you're a different person and now you're saying, oh, i by the way, this level of iconography is me. >> charlie: believe me because it's really me. >> yeah. and i think that's -- it's bad for the credibility of cinema. >> charlie: what do you do when you're not acting? >> you do realize how stupid people think i am when i'm sitting in a building based on the mighty dollar. there's not one single building in this whole building who would agree with me. >> charlie: of course. >> i'm swimming upstream. >> charlie: i'd like to believe there's more than one but let's just say, what do you do when you're not acting? i have a reason for asking this? >> i have busy life i reason a football team in australia. i have a cattle farm. i have my beautiful family and wife and it two sons. >> charlie: what did you learn about all the business that happened downtown in new york.

>> i was thinking you were going to ask that today and i was thinking it through. if i were to answer -- i'm going answer you honestly. but it's going to bring it back into my life again by talking about it so just know the burden you're placing on me. i think it indelablindelibly ch. it was a very very minor situation that was made into something outrageous. more violence perpetuated me walking between the car to the courtroom with the waiting media than anything i'd done. you know. you can apologize for something

a million times and for some reason people want to you apologize over and over and over again. really, i don't want to go around those circles again but yeah, it very definitely affected me. affected me pyschologically. >> charlie: still? >> i keep having to talk about it. >> charlie: but it's not affecting you pyschologicall you could have said i didn't want to talk about it. >> the very thing that makes me capable in my job is the thing that some elements of the media take advantage of because i will give you an answer and in the correct tone for the moment. so if you come at me aggresively or come at me abusively then i'm -- >> charlie: i've seen you. >> that's bound to get you in trouble, you know, when people are doing that to you on purpose. >> charlie: but it's way passed

you now? >> yeah, it's passed me now but why should -- you know -- i can play the role of the guy that it's water off a duck's back but i'm not that guy. >> charlie: where do you see yourself in terms whatever you want to do as an actor and have done as an actor and want to do as an actor? >> quite often i think the great part of the job is if you stay engaged with it you don't run out of characters they just change and get to play different people. like i couldn't have played an english college prpro professori was 18 or 19 and things change and hopefully they continue to get richer. i have a friend who wants me to to shanghai and shoot a kung

fu film and he's made this character up for me and a have a deep belief in him as an artist it's just he's never made a movie before. >> charlie: he's a painter? what is he? >> he's a rapper. >> >> okay. >> from the wu tang clan. and i have a faith in him he's not going to fail in this. if i end up making that decision to do that it's not going to be understood by people unl they see it. the character i play is just one of those things that, you know, it will look like a very odd decision for quite some time. >> charlie: but you're going to do it? >> i'm inclined to follow my

instincts and my belief in the individual. >> charlie: so your confidence is in him. >> yes, and also that thing of let him have a go, you know. if i come along to it it brings a certain cache and gives him confidence. if i don't do it, he'll just get another actor and he'll be fine but it just gives him an extra level of confidence. >> charlie: is music as close to you as acting? >> yes, it is. >> charlie: you could been a musician as much as you could have been an actor. >> people arg with you on that point. >> charlie: because they've heard you play or because of what? >> they don't like the idea of it. >> charlie: really. but would you argue the point or not? >> oh, it's beyond that and say it's a fineness to what's

available to me as an actor which is not available to me as a musician. i wouldn't have been able to make a living at it. >> charlie: you would? >> i would but i think it would be in limitations. >> charlie: so you're happy with the choice you've made. >> yeah, and it became obvious to me. i used to use acting as the way i would finance my music, you know. i go and do a job and make money and go touring where i'm going to lose money or go in the studio or play and i better get another acting job and i just realized that my priorities were wrong. 'cause everything in music was difficult. every time i tried to do something there was a serious of hurdles i had to get over and i would place that cllenge and go through the challenge but it was always exhausting. and with acting it was just different. everything i did was like the

rails were greased to use a great michael mann line from "the insider." >> charlie: i know it well. >> it was just took me way too many years to work that out. we can put the whole intelligence thing way. >> charlie: what did to take? >> it took me until i was in my mid to late 20s. right at the moment i'm not playing and i haven't toured since 2006. i've been writing songs and performing with some friends now and then it's a big gap in my life but right now i don't have the time with all the other

things i've got involved in it's an odd situation. >> charlie: football and the rest of it. >> so now i prioritize music down the list. it's family first and the other responsibilities but if you don't do it the thing that you built up over the years it does go away. you know. is in the that. >> charlie: do you fear that and figure you better -- you better flex that muscle or use that? >> yeah, needs to be used. needs to be put in an a position where -- >> charlie: is your wife a musician? >> yes. >> charlie: she's a performing amusician. >> yes. >> charlie: she has her own band. >> yep. >> charlie: so she comes home to you being home being dad. i heard your at home dad and tweeting like crazy. >> this thing has come up.

i'm getting something out of it. i don't know what it is but -- sometimes it can be really funny, you know, other times it can be a little sad. i spend so much time on the computer so sometimes i clear my mind. >> charlie: what do you spend time on the computer doing? >> e-mails. >> charlie: really? >> i've got 800 e-mails. >> charlie: do you surf the web like crazy. >> i don't. i just respond to the e-mails. that's the thing you get into when you take on too many responsibilities. >> charlie: from football to family to acting to music. >> if you think you can run a football club and any kind of passionate person at all and any real meaning not just about dollars and think you can run it from an objective perspective it's just not -- >> charlie: are you into everything in terms of hoor hir

the players and scheduling and -- >> i've got great people. >> charlie: why did you do that? >> in sydney my dad had a road shop in beaconsfield. >> charlie: you were born in new zealand. >> but we moved to australia when i was four. my father supports another team so he had a work mate who supported south sydney and as australian work mates do kept getting in my ear and my dad assumed it would go through dna i would go to the football team and when i was four or five i announced i liked this other team. it's a mistake i would not make -- >> charlie: because? >> a united house -- >> charlie: a source of great tension. >> a united house is just means the football is something we can all do as a family as long as i

can keep them interested in it. i was going to a football game with my father about two years ago. this is a couple years into me taking over. >> charlie: i can't wait to hear this. >> and turns up at my place and i go to football by boat. fantastic. the stadium they built is for the olympics it's on sydney harbor and i get on a boat and we just scoot down the harbor and it's fantastic so my dad turned up in a south sydney jacket. i said, um, what's this about. what are you wearing that for and he just looked at me cleanly and simply and said "it's a family business." just one of the coolest moments of my relationship with my dad. >> charlie: it's the family business. >> it's a family business.

>> charlie: great to have you here. >> cheers, charlie. >> charlie: russell crowe. "the next three days" opens in theatres november 19th.

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