. >> welcome to our prram. we connue with our summ recess cposite, some things we liked during the past year. this we call a miscellaneous mix and it includes a comedian. >> i don't know how i got on the front of qg-- "gq" magazine besides my looks, but to go from performing in the back of a hamburger restaurant to being on the front of gq, it takes a lot of lie fog yoursf that you

can make it. and hard work. >> andctor author steve martin. >> it's the strangest thing when it comes to banjo plague, because i do it out of necessity. because there would be no point for me to play the banjo if i wasn't writing songs. because there are fantastic players, you know, they're so fantastic. so if they're going to play foggy mountain breakdown, a fantastic players which a classic, using as a metapr, really, classic banjo song, no point for me to play it. i have to play my own songs,s there he a point. so i better write some songs. and robert duval. >> i try to be truthful when i act. i try to keep it down to what we are doing now. adobe duval and charlie rose just talking and listening. somebody said wow, we saw you in a movie, you just played yourself. i said yeah, well try it. try it, see how easy it is. just easy, you know, talk, listen, you talk, it's not

that easy, always we conclude, with businessman and entrepreneur general picassi. >> i'm interested by scientists, by miss penn-- by businessmen, by very pretty girls but not models that will talk to you about the next shoes. i'm interested by people without do interesting things. i think people like to talk about that stuff and they love to talk about what they're doing. >> some interesting characters coming at you this evening, next. >> funding for charlie rose was provided by the following nding for charlie roseas provided by the following:

>> every story needs a hero we can all root for who beats the odds andomes out on top. but this isn't just a hollywood story line, it's happening every day, all across america. every time a stofront opens. or the midnight oil is burned. or when someone chas a dream, not just a dollar. they are small-business owners, so if you want to root for a real hero, support small business. shop small. >> additional funding provided by these funders. >> 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. >> one of the mt innovative stand-up comedians workintoday. i am pleased to have zack on this program for the first

time, of which we share many things including we both have property in north carolina. welcome. >> right, you have 500 acres you said, i have seven. >> you have 50, come on. >> you were bragging already. >> no, you have 50. >> i have 60. >> actually -- >> 30 of it in marijuana. >> i don't grow anything. >> no, i'm sure you don't. you do it on state parks? that's smart. >> i have a minor six acres, you know. >> yate, right. you are out in the woods. >> in the woods, out, down yonder, whatever they call it. a lot of mouth breathers. now how long have you been in new york. you still have your north carolina ago accident. >> forever, iame here in 1991. i stted this show in 1991. >> don't you think you should have shed your ago accident by then. does it bother you. >> no, i like it but the people that you hang out w the highfalutin new york city types, your mean, you're still sayingityly.

>> how do you say it. >> italy. >> so if i said italy rather thanity-ly it woulbe better. >> yeah. >> you used to doon vh1 what i do right here. >> i did. >> it was cancelled. >> what was it called. >> i think was called the magic johnson call. no, it was called late world with zack. late world with zack. >> right. that was on for a while and then it was cancelled because you had movies to make and a career. >> no, it was cancelled because i wasn't listening to the guest and i was terrible at it. and it got cancelled. and then i thought well that was a nice try at a career, meing comedy. and then i just kind of started doing open mikes again and had to put myself together again and then started auditioning for busboy number two or bell hop number four. >> you have performed in almost every kind of vue or even places where it wouldn't be called a venue. >> right. stanng obar stools. >> right. >> trying to turn down the tv over the bars.

>> yeah. >> so you can hear me and all this great comedy i'm doing. >> really great mix when you try to get the guys at the local sports bar to turn down the hockey play-offs so you can tell your stupid jokes. >> shut up, i'm trying to make these people laugh. >> it's a desperate art form to try to get into. you perform anywhere you can. i mean old folks homes, churches. even a bus. so yeah, i was doing stand-up as much as coy, wherever i could. >> talk about that in a serious way. if you want to be good, you have got to go out and do it. >> you have to get ostage and you have to bomb and fail a try new things. you have to fight discouragement. i think is the biggest hurdle. >> but is there some point where, i mean you didn't face this but can you say to most people, you'll make it? or you say most people, you know, somehow are lucks and breaks and all of that kind of stuff. >>t depends on what you

consider making it. i mean making a living at it is,ut to be like a big, you know -- >> like you. >> i still have-- yes, to make it into being --. >> being on the cover of gq, for god's sakes. >> laugh out loufunny, 134th comedy issue starring zack -- >> i don't know how i got on the front of "gq" magazine besides my looks. but to go from performing in the back of a hamburger restaurant to being on the front of "gq" magazine takes alot of lying to yourself that you can make it. and yoknow, ha work. >> did you ner, ever, ever think i can't do this. i'm out of here? >> you know, i thought, i did think if i didn make it as a stand-up i probably would go rob a train, you know, there's no train robberany more. so i kind of fantasize about that. but no, honestly, stand up was all that i knew how to do for a long time.

>> so you put yourself in a place where if i don't make it, i'm hungry. >> that's also-- i mean if you have a job, a 9 to job that you can fall backn, you might eventually just fall back on that reason jo. if you don't have any other options but one thing, you kind of go for the one thing, i think. >> why do you think you wanted to do this? >> my father when i was a kid, not to sound too cornee but he used to emphasize to me and my brother and sister to combine labor and love. and i just always paid attention to that. and i thought well, i can make people laugh. somehow naturally. and then i'm going to try to figure out how to make some bucks ing it. >> you knew that early on. >> uh-huh. >> in school. >> i knew it -- >> in the family, at the dining room table. >>y family is all pretty funny, funnier than me. my cousins were real funny, my brother, my sister. and i used to like perform the robot in front of my family and they would give

me money. and then-- within you said this is good. >> yeah, i would-- pie dad with ask do you have change foa quarter? dad, that's a drachma. so that's kind of how it started. and then, you know, just a lot of laughing in the family. >> so what does the family say today about their boy zack up on the big screen? >> can i borrow some money. >> can you change a hundred. >> yeah. they're all-- they i think they're very positive about it. i mean it's different. but nothing really has changed that much as far as the family dynamic. >> so you are doing stand-up. >> uh-huh. >> we'll work up to this movie. you are doing stand-up here and there and then you have-- boston commons, was that it? >> that was sitcom. i was a busboy at a strip joint, stringfellows on 21st

street. and then at the four ason i think, restaurant, after that. and then i got -- >> you mean in the series. >> no, no, in real life. >> in real life. >> not on the sitcom, no, mr. rose, this is unfortunately the real life i'm talking about now. yeah, so. i was a busboy and kind of a busboy later in life. and then i got a job on sitcom out in california. and i drove out there and lived. and then that dried and a lived in a van for a while. and then i rented a car from a mechanic. so let's say that you've turned in your, let's say, i am assuming on a bentley, to yourechanic. i convince mechanic -- >> how comare you so smart. >> i convinced mechanic. >> why didn't you say rolls. >> you seem like a bentley guy, okay, a chevy luminaness. >> did you see charlie in his newknew lum nash, he

keeps bragging about it. >> it a great car. >> and i convinced the mechanic to let me rent a car he was fixing. >> to sleep in. >> to sleep. in and i did it for a little bit. and then just started performing again out in california. >> your car kept breaking down so you were able to sleep for a long time. >> it broke down and i remember, i don't know how i-- how i got hou but i got a house somehow. but i didn't have any money. oh, yeah, the landlord gave me a house because he felt sorry for me. >> this brings us to hang over. >> no suffering in between, whatsoever. the streets are paved with gold. >> no, we've suffered enough here. we've suffered enough. we are sleeping in a car and we can't make ends meet and then we have a house. >> right. >> this is the first my parents will hear about this, if they e the show. i never have told them any of this. >> yes, you have. you told them everything. >> i tried to guilt them. >> all right. so hangover. >> yes, sir. >> you had-- did you have any idea? did you guys know when you were making this, that this

made what, a half a billion dollars. >> when we were filming it i had a feelingnside my gut that-- i would go to dinner with the other cast and i said you know what, i think this is good. and i had never been in anything good. and i had a different feeling inside of me. and we all chatted and thought yeah this is going to be a good movie. but to the extent of being, you know, such a big moneymaker, nobody knew. i mean it's kind of great, but it's also kind of ruined my life. >> why is that? >> i say that kind of tongue-in-cheek. well, peopl assume that when you play an outlandish character in a movie that you are that outlandish character, some pele assume that. >> we will see that character in just a moment. >> it's difficult to walk down in the airport and people-- i mean woulyou have gone up to the scar crow in the "wizard of oz", the actor, oh, you're not really a scare crow, you know what i mean. i'm not really the guy-- i'm just a guy, you know what i mean.

i'm an actor. >> no, i'm not an actor either shall i'm just a guy that got lucky. >> roll tape. here is a clip from the hangover, here it is. >> so you sure are you qualified to be taking care of that baby? >> what are you talking about, i found a baby before. >> you found a baby before. >> qua. >> where. >> coffee beans. >> wait, what? >> look, i don't think doug would want us to take the mercedes -- >> pie dad is crazy about that car and he left doug in charge. >> allen, we got bigger problems here. doug could be the hospital. could be hurt, okay. here's your car, officers. >> all right, everybody act cool. don't say a word. let's just get in and go. >> i generally don't ask this question but. >> i'm single. seems strange to do it on air, charlie. you could have at least gone and got a drink afterwards.

>> we talked about you and john te, didn't we. >> yes, that's right. >> who went to the same university. you both went to north carolina state. >> that's right. >> but the point is, is there some connection, you think, between unhappiness and comedy? discomfort and comedy? >> discomfort for me, absolutely in comedy. i think awkwardness is funny. i think inappropriateness is funny. but as far as that old stereotype of unhappiness in comics are lot often thought to be, you know, have fairly dark souls and dark corners. that certainly is true. there is a reason for stereotypes. >> you think it's true. >> for some people. i think some people though are born-you know, some people have a mathematical mind. some people have a mind maybe that genetically is for some reason has th

the-- architect but some people are born maybe funny and if you come from a family envonment that nurtures that, you can be kind of healthy. it doesn't haveo be just an abusive father and then that's the reason you develop comedy. i come from a very, very nice family, very, very beautiful parents who are very supportive. so unfortunately, i don't have that excuse. i mean it would be nice. >> congratulations. >> thank you, thank you. >> nice to you have here. >> thank you for having me on the show. >> pie pleasure. >> nice to chat with another north carlinian. >> i hope will you come back. >> i hope you'll have me back. >> steve margin is-- martin is here, he is an avid writer, he's written plays, children's books, magazine pieces, a memoir and novella. now he is publishing his first full length novell called an object of beauty, the story of an ambitious young art dealer fighting to reach the top of the new york city art world. he also tours the country as

a professional banjo player. his debut album the crow won grammy award in 2008 a is still a best selling album. i am pleased to have steve martin back at this table. welcome. >> thank you very much, nice to be here. always nice to catch up with my career when i hear your intro. >> we'll have more, i promise you. >> i don't knows what's been going on until i hear you introduce me. >> now here's what is funny. i heard that you are now in the late stage of your life, it was basically three periods of your life. one was the early comedic period. two was the acting period. and now we're in as an artist might be described, the laid period. >> the late period. >> is there some, something true about that? >> absolutely, that's true. can't deny it unless there's a new late period that begins at age 90. >> well, and dow get better and better? >> i was talking to my wife the other day. i said i don't know what happened. it was really this is an odd year, oran odd, since i

turned 60 because i have produced a book, two records, because one's in the can, and a very fine movie that i really just acted in. but they're going to use one of my tunes on the soundtrack. anso i'm vyleas with what i have produced this sort of late period. and i saiand it feels like the things wer good, that i've been doing. i'm not kidding self that i'm just, you know, spitting in the windr turning my wheels or spinning my wheels, i can't think of a good met a for. >> did you say i want to write a nol or did you say i have mething-- i want to write about the art world. >> no i said i want to write something. because see i had published actually two novellas, and a full length memoir. >> all of which you were here to talk about. >> right. and i'm back for more

punishment. but i wanted to write something longer. i knew that. and i was in the mood to write it. sort of like it's a strange urge that comes over me. if i want to write a song i just have this urge to do it. and i'm in a very lucky spot in that i do not earn my living from any of these things. i guess would say i earn my living from movies. so i don't really have to do it. i do it when i want to. and it's-- i'm in a small way compled to do it. so i thought i want to write something. i want to write something, you know, an old standby saying, write what you know. so i know, i feel the art world. i know enough to getgoing. >> that's an interesting point. you have said in something that i read, i know enough

about it to write about it interestingly. i probably shouldn't write about show business because i know too much. >> i'm a little bored, i'm on the bored side of show business. but i'm on the excited side of the art world. i want to write something that i am excited about. but i also-- bu that's-- the art world only represents a milieu to me. the important part of this book to me, what i wanted to write is the character. and the character to me brings the book to life. the art world val the background that says oh, she can do this, she can do this, she can do this. >> she's a metaphor for the art world. >> not at all, not at all. she's a character in life that the art world allows me to bring out her character. she's-- she's not a hair winn, she's tricky.

and she's complicated. it's very hard for me to find words to express what she is like. >> the idea of being precise, finding the right word, you know -- >> it's all of that. you know, this-- i think shop girl is more poetic, and insightful, kind of dream like book. i think the pleasure of my company is me about heartbreak and recovery. and this is-- more about watch this. look at this happen. and also i think the art world is completely scinating. you know, enough ppens with nothing happening, and still makes it interesting. >> why is it fascinatg to you? >> well, other than the fact that you like pictures. >> one is that you're dealing with absolutely exquisite and beautiful

objects. that's at the centre of it. then you're dealing with intrigue. you have stolen pictures. you have fakes. you have isabella stewart gardner museum where these beautiful pictures were heisted and have never been recovered. you have questions of authorship. you have questions of-- and then you enters the world of dealinging and commerce, buying and selling and the personalities of those dealers and the collectors and their dreams are high mindedness and their low mindedness. and what they want it for and the pride of owning something. and i discuss it ithe book. i try to get into collecrs' ads. and kind of explain why there is this lust. >> well, you understand that, you're a collector. >> yeah. >> what is it. >> well-- you know, i went to great pains.

>> it's very complicated. >> but is it easier for you to explain it in a novell than to write a piece for the new yorker? >> you know. >> that idea. >> yes, it's much easier to put it in a book because here, you know, if i am writing a piece in "the new yorker", that idea can be, has to be-- have a beginning, middle and end. but in a novell it can come and go. in the middle of a story it can be a sentence here and there. it can be a small paragraph that comes, it doesn't have to have a-- you know, hit you with a hammer. it c be a small moment it can be a line hear and there. it can be a collector speaking, you know. >> lacey. >> uh-huh. >> does she like art? >> i think she does. she has, you know, she, both the nar tate -- narrator. >> or is it a means to an end. >> no, she likes art. everybody in the book likes art. >> and would you have it no other way. >> yes, because in life i found that everybody in the art world likes art. and i have had fantastic

conversations with dealers, collectors, artists that have nothing to do with money. they're like, i even say that there is a seen where a dealer and two collectors or you know they're left a hone in a restaurant and if someone had overheard their conversation, woulyou have thought they we talking about girls. >> it had that kind of passion. >> that nd of passionor it. >> and in fact lacey comes to new york to enter the art world because she is studied art in college. and her narrator friends studied art. they both come to the art world. and then lacey labors downstairs in sotheby'ses going through these paintings, cataloging them. and then there's a home later in the book where she has her first real experience with a painting. and it's inadvertent because she's trying to deliver t she can't. so she has to take it home

to her apartment and she's thinking well it's here. i may aswell unwrap it. so she unwraps it, and hangs it up in her apartment. and she's alone with it. it is late. she's drunking scotch and she comes to have a moment where she recognizes that it's beautiful. and her life changes. and she realizes she wants nice things. >> what is this. >> the music. >> banjo. >> oh, gee, it's the strangest thing to be using a part your brain that you-- that i hadn't used, that is nonverbal. and i honestly don't know where this comes from. i'm talking about the music writingment because the playing is kind of physical and emotional. but the writing of a song, you know, i can't explain it. i really can't.

i just fool around until the right thing comes out. and you know -- >> are you most of all in the end what you are is a writing. you wrote your own comedy. >> uh-huh. >> you have perform but you wrote screenplays. u wrote novellas. you write pieces for "the new yorker". you write songs. you are a writer. >> i guess so. but it's the strangest tng when it comes to banjo playing. because i do it out of necessity. because there would be no int for me to play the banjo if i wasn't writing songs. because therare fantastic players, you know, they're so fantastic. so if they're going to play foggy mountain breakdown, these fantastic players are going to play foggy mountain breakdown which is fantastic, using as a metaphor, really, class you can banjo song, there is no point for me to play it. if i play my own songs, there's a point. so i better write some songs. >> but you've also said, you realize you're not the best banjo player on stage too. and that's okay.

you like that, almost, in a way. >> oh, well, i think play well, because i play heartfelt. and i play musically. i don't play technically. i mean i don't-- i'm not up and down the neck, all over. but i think the banjo has great emotion. and i think i play with great emotion. so i'm not putting myself down. i'm just saying, you know. >> i want to talk about art and the creation of art. all of this is hart. this is painting a picture. playing a banjo, making a movie, writing a book, is all about art. >> okay. >> is it-- the process for you, is it hard. is it laborious. is it-- is it mostly trial and error, and a lot less inspiration that it just like, you know, you open your veins and it flows? >> well, i think you sort of

ebb and flow between inspiration. and you know, conscious work. and i can feel myself writing along, writing along and then go oh. >> yeah. >> or it's almost like you're writing something, you know, sentence, you kw, known, verb, oops, what happened here. >> and all we have to do is create the space for that to happen. >> and you love when you find the right word that -- did --. >> i love that. everybody would love that. but i really believe that creative work is self-conscious. >> this is, and i mean, like i believe -- >> and how do you tap the

subconscious? >> i think it's by practice. really practice, you have to practice in the conscio world, start to trust, slowly trust that subconscious. that'shy i think i can writ those songs, i just g oh, yeah, that's it. yeah, that's it. so is this sething youre born with, is this something that how -- >> no, i think i developed it, yeah. >> and object of beauty, a novel by ste martin. it's always great. >> greatthank you very much. >> thank you, much robert duval sheer. he is as you know a unique actor, famous for his masterful and subdued performances. he began his career in new york theatre before making hi hollywood debut as boo radly in toill a moxing bi it would be another ten years before his breakout role, in the first two godfather films. nominated six times for an

academy award he won for his portrayal of the washed up country singer mack fledge in tender mercies. here is a look at his work over 50 years . >> hey, boo. >> i'm going to make some of trouble for you, you won't know what hit you. >> i am, its walz wness. >> i know almost every lawyer in new york, who the hell are you. >> i have a special practice. i handle one client. you have my number always for your call. by the way i admire your

pictures very much. >> you're still pretty, claire. >> you're still the deceiving man you've always been, guess. >> with your permission, bo, i'd like a kiss. >> come on. now stop it. >> did boo come right out of the scpt or did boo come right out of your heart. >> boo radly? >> yeah. >> well, i mean, i went to do the movie inhe last part of the shoot. and the character come ms. in the last part of the book. and when i left my apartment in new york i got a telegram from the author, harper lee, and it said hey there boo, like a telegram congratulations. so i went to california. ani went on the set and was greeted by everyone. it was the ends of the movie, the last ten days, the end of the book, the last character, and it just cam on.

gregory peck was a wonderful gentlemen, very gracious man with a lot of grace. horton foote was there as he alys is in these movies. i felt very wcomed. and i just, once again, followed my instincts for this part. it was just a lovely part. >> the only thing i thought of then was when i did that part, as i did it, i got goose pimp e. so i said if i'm a goose pimp el acker i know i'm on the write track, at that time. but i did then. >> tony scott is as i said in my opening, this actor has gone nearly 50 years in movies, virtually without a false note. now as self-serving as it might be, tell me why that's been possible for you? >> well, i'm sure this guy gave me a bad review once. all these guys do. i mean i don't read them. believe me i don't read them. >> you don't read any of them, good or bad, no. >> no, i the best review was american buflo onbroadway

and lonesome dove and they were good reviews and really exceptional. and i didn't read them. i will hear about them, sometimes, but i don't go after them to read them. because i just, you know, why. >> why. >> why. >> but i try to be truthful when i act. i try to keep it downo what we're doing now. bobby duval and charlie rose just talking and listening. if you can-- and somebody said well, we saw you in a movie. you just played yourself. i said well yeah, try it. try it, see how easy it is. just easy, you know, talk, listen, you talk, it's not that easy always. >> yeah. it has everything aboutt. it had making itound like you just had the thought. it has the sense of listening so thait flows naturally from where the conversation was. >> yes, yes. >> it had to do with stripping away everything except the moment. >> exactly, the moment. >> and i think that there are bad still but i think the directors today, the good ones are better than the old guys. >> how so. >> in those areas.

when i looked at true grit t not one of my favorite performances. when i did-- the director said tone of the actors, when i say action, tense up, god dammit. >> it's not the way i dow it. >> can you say that to joe montana, you don't do that. the is a difference between intensity and tenseness. today a good director would say give me less. don't do anything. and i think, you know, you can be relaxed enough, i think that you can start from zero and possibly end with zero o. >> i see. >> without, letting the process take you to the result rather than playing the result. just see wre it goes. in the old days they wante something, something, something, something, energy, energy, energy. and that movie, true grit f you looked at the ground, the guy would say cut, son what are you looking at this to be like a-- some of those directors, then. and i'm not saying they didn't make good movies then. they did. but i think from the godfather on down i think the movies have been-- are better today, i think.

maybe the stories aren't better. and i'm not saying the actors are any less interesting. but i think the directors in those days were authoritative and they want certain things. gene hackman once said that they asked henry ford to come on thset to direct one scene with a bunch of soldiers. >> john forde. >> yeah, up, up, ever had to be up in those days, like energy, energy. you know, it's-- it'sot about that really. that's a secondary thing, energy. and energy could come from a person rather than just an arbitrary outside force. >> as we were watching that and the godfather scene came on in that composite. >> yeah. >> you said that's the best with. >> well, for that kind of storytelling, cop ola was mastful, absolutely. i wasortunate in the last part of the 20th century to be in the two biggest film episodes, godfather 1 and 2, lonesome dove. although the godfather was better directed, actually, you know. and i walked into the dressing room one day on lonesome dove, i said boys,

we're making the godfather of westerns. but that was my favorite part. >> that was the favorite part. >> that was my favorite part. >> because? >> interesting guy. just a guy that, you know, he said y did we kill all the people in this country that were interesting to begin with. he was one of those guys that wasn't after indians, he was a texas rang their loved women. he didn't quarter if they where whores. i said let the english play hamlet, i'll play augusta mcrae, a great character. my ex-wife said i read a book i liked better than i do stoy efski, it is a great american novel. and we try to come better to it, the godther t novel was okay. and the movie surpassed it. >> tell me about mar long. >>h, mar long. >> yeah. >> interesting guy, when i fit met him on the chase. >> oh, yeah, that's right with robert redford. >> we talked and we do this d that. and then he knew that, he

wants everybody to am could, people want to come to him. but n we talk, oh boy, this is going to be great. then for eight weeks he would never say hello. he would walk right by you. right by you like, okay, you know, knowing that you wanted something. and then but i learned something from him on the chase. i noticed he would be sitting over here. they say, okay, it's your time. he would be talking, and then he goes ak, cut, back to talking. it was all the same, there dwras no beginning. i said oh boy, this interesting acting. no beginning. all the same. >> it was a continuum. >> yes, just him, you know, continuing. >> this is what you said about coming a character. you become the character but it's really you turning yourself in a certain way as if you have become the character. but you cannot lose sight of the who and what you are. you have one set of emotions, one psyche, one soul and you can't, you don't become another thing. >> absolutely. i stand by that. >> because it's acting.

he said in the back of your head, there's something that approves, not in a negative way a proves of what you are doing. sot is's acting. it's fun. >> it's not becoming. >> you do and you don't. not really. i mean you know, you could say i became that character and you could be doing false acting. you know what i'm saying. you have to start from yourself. >> what is the best lesson you ever learned about acting? >> the best lesson? >> yes. >> well, i guess as good as any is the one i said about brando, you know, before the take, during the take and after the take there was the sameness. you know. >> so what about those people that stay in character on a set. >> god almighty, they must wear them out. that would wear me out. when i did get low the most important-- the most important thing on the set is the chair, for me. if i don't have my bed in the drising room so now the second, the first day of get-low

there was a dark room, where i put my chair so i could sit down between takes. everybody thought was in there keeping in character. i just wanted a place to sit down and rest until the next take. nothing to do with staying in character. >> there was also, you improvised in that scene, i mean in that movie with -- >> oh yeah, yeah, yeah, i never work with a better guy than viggo, roughly actor. >> so they made threscenes that you have done in 50 years. >> three scenes. >> well, one scene they said what would you say. and it was i give credit to simon theirector, they said you want to do one more take when we areanging jake spoon, when i go down and each one, we hang m, hit the horse, andhen he spurs his own horse and hangs himself. and the take he asked me to do was, it was okay before thavment it was like i had an emotional-- just something caught, something caught that i can't explain where it came from .

>> and of course when i saw the first cut, they cut it out. i said if you don't put this back in. so they put it back if because i had read there was a texas rang we are all his men along the border. an when the leader of these texas ranger, he got shot in front of them. the men in mass wept at that moment. so these kinds of guys can have emotions that can happen like that. so that moment that i had whene hung jake spoon is a good moment. and then i mean there are other scenes i would have to think about. >> well, think about them.

>> yeah. >> just give me one more. >> maybe when i died in colors. >> really? >> or i died? geronimo. 20 years, takes-- geronimo. >> or when i died in long some dove, that final see can tommy lee jones, that final ski, life's been a great party and that's my demise. >> pie god, woodrow, it's been quite a party. >> yes, sir. >> i think that was a pretty good scene. >> it's an honor to have you here. >> great to be here, again. mucha gracs.

>> johnnie to his friends, a businessman, a photographer, an art chrakter and much more. born in pairs, educated at harvard. he has been taking pictures for mostf his life. it has been written of him, part 21st century renaissance nain, part caveman, living exception to the supposed rule that they just don't make them like that any more. i am pleased to have him here at this table for the first time and it's about time. welcome. >> all right. we've got a lot to talk about. so here is the book that we've been you can talking about, why do you call it that. >> well,atalog resume is what is a normal book, so being dyslexic, i can't think, i don't even know the alphabet from a to z, okay. so i decided i have to come up with a name. so i said resume is organized. nonorganized so this is a-- it's not organized.

that's why i think it's fun because it starts with dogs and ladies and food and all mixed up. but i think the mixing is probably good. i didn't do the editing. i tried to do it for two years and i gave up. the editor of the book, did it. and some other friends that ed me with it. i couldn't do it any more. >> define your journey and then we're going to look at photographs at rresent the journey. >> my journey, it started as a kind of normal one. my father was a big self-made italian businessman who came to paris. and started a company. and he died when i was 12 and then i went to a few different schools and then i went to,-- and pure mirac i got to harvard. >> tell the story because it is interesting. are you being interviewed by somebody in flachblts and they say answer these two questions, sir. and i will get new harvard. and you said. >> so i completely failed on my sats.

hi no idea. being dyslexic, in thoughs days to get into harvard you hato do an interview. in those days it was a bank the irving trust, i don't think it exists any more. so the president of the european irving trust was a harvard guy. i was there in my little suit and my little tie. and he said where are you from i said i was originally from terino in italy. he said i will ask you two questions. what is the best restaurant in terrino. i said -- >> one more question, if you get it i will get into harvard at is the season for truffles. >> i said october, november. he said you're into harvard. >> first person ever in the history of harvard who knew the season of trough els. >> it worked so now i don't like truffles very much, i respect truffles t is a very important thing in my life. >> indeed. >> did you stay at harvard long. >> i finished. i even have-- i have magna cum laude. >> that's good, with honors and everything. i didn't dot post difficult thing. i started by doing ecomics and i failed misebly.

so then i went to something called vision and environmental studies which had nothing to do with the environmen it was more made movies, i studied art history. i took a little photograph. and it was inhis weird building. and i did it. >> you have had this compassity to shift five or six years t is just because you have a curious mind. >> i have a kur us where ninde. i think the day you stop being rious, you can stop living. and i feel that obviously if you dohe same-- let's say you ara carpenter. are you a carpenter from the age of 20 on until you are 70, if you are not a complete idiot you become a great carpenter. or if you say you are a great analyst, finance analyst, but i am amazed that people can dot same thing all their life. i find it borg. after five or six years you understand the ropes, how it works and all that. so new things, the internet is a new thing, i'm interested by high-tech ecology, now i'm interested by japanese art, so --

>> and you are interested in science and medicine and the environment and the discovery -- >> very much so and i'm not a scientist. and three quarters of the projects that they do in my lab in panama, i have no idea what they are talking about. but i'm interested. and i want to learn more. and they're interesting people. >> how much of your sucss satisfaction has been because you make friends well, because you enjoy friends,nd because are you curious and you listeto them? >> well, i think listening is an credibly important thing. so few people listen. i'm always amaze. you meet a very important person or a man or woman who has something great to say. and people yak and yak and ya they don't listen. i ha no interest in hearing about myself. >> me either. >> so th is why i don't read articles about myself, not that there are many of em. so i am interested in surking up as much as i can. and that's what i want to do. so if you are with an interesting scientist or businessman or an

interesting artist, i want to hear. and i want-- as i don't read books, it's my only way of getting information. i mean i can watch tv, i can listen to tape booked which i don't do wednesday mentors have played a role in your life. >> huge. >> people like -- >> peoplelike chris blackwell,eople like mick jagger >> let's talk about some of them. mick jagger has had what influence what you have learned from mick. >> i tell you one thing i learned from mick. he never talks about himself. he talks a lot. you can ask him a question what was in your head when you wrote "satisfaction" but usually he's very interested in history. will ask about you. he is a wonrful man. but he knows, and he is a great guest. you invite him for dinner, will make everybody laugh and all that. some other people only talk about- july yan-- a friend of mine, he' 98% interesd in himself, okay so he

brings everything back to himself, you know. and it's incredible. it's a science of doing it but you can do it very, very well. >> what is it about your understanding of relationships that make you so damn successful. >> my friends are usually interesting. i mean i don't-- i hate pompous people. i hate the superwasp orhe superenglish aristocracy. the english sometime are funny because they are such original but i'm not interested by that. i'm interested by artists. i'm interested by scientists. i'm interested by businessman, i'll interested by very pretty girl but not models who will talk to you about the next shoes and how does my hair look, i'm interested by ople who do interesting things. and i think people like to talk about themselves and they love to talk about what they're doing. and mostly i like to laugh. so somebody like fran leibowitz i love and there are people-- the person, i really like, the most

comfortable with is charles sachi, the most intelligent man i ever met in my life. he is on another level. >> i have been trying to get him to come on the show and talk. >> i will try to help you. not an easy -- >> no, i know. two projects. one is limo land. >> limo la say little project i started but i hope it would grow. the idea was i very rarely wear a suit by i wear a suit in your honor, double-breasted. >> thank you, thank you, thank you. >> and i feel there a number of people who are over 30 who do not wear a tie and who do not have to wear suits. so if, let's say they are rich they can go and buy cloths on one of those fancy shops on madison avenue. but if you go there they will only have black, brown, gray and white. and color is an incredibly important thing. color and being comfortable are a very important thing in my life. so i started this little

company for rich old men, okay. limo is not pc, rich is not pc, man is to the-- it's putting a lot of non-pc wordsing to. in reality my medium age customer is 30 years old. and i want to grow this thing and eventually i want to take it to china, like uis view ton and like everybody else. i don't know what i will manage to do but i will try. and it's very interesting and i have a shop in the meatpacking, and it's doing very well. and it's been interesting to see the reaction. and we sold in all the best shops in the world. >> and did you ts simply because you wanted, you had an idea and thought -- >> hi an idea and i'm learning a new business. now i know about buttons, i go to peru and look at knitting. i'm learning a new business. >> you su how well -- >> you also have been inuenced by harlem in a way. i went to a restaurant last night called red rooster which was fabulous. and i mentioned it to you. d i could see you light up. a because you have always been fascinated by harlem,

or not. >> oh, i like harlem because has life. >> right. >> and it has funny shops. and there are people in the street. and you know, it's like i imagine when you see those old films of new york in the '30s, i think it was like that. it still has, you know, music and people dancing around. in the summer. in the winter it's not so great. but in the sumter is a great place. in the spring gi there. >> pan a marks you have something a research r down there in association with woods hole. >> yes. out of complete kraizness i bought an island and some land in the north of panama in the pas civic. >> yes. >> and out of even more craziness i thought i'm going to build a lab. i know zero about labs, okay. i built this lab. because my architect was the son of a pharmacist. so i said i kw about labs. and then i went to the tet conference. and there was a guy from woods hole, who showed some incredible pictures of some weird eatures that he saw

two miles under the water. so at the end of the coerence, i said i have a lab in pan a machlt he looked at me like i was-- i said i want to you come. so i managed to gethree or four people that came down, they took a boat. they went around. they took some water samples. and it turns out that what is in the water there is nearly more interesng than in the gal app goes. so now we have a tre interesting research center, about 8 or 9 years. and they do a lot o research on tropical fish, man groves, fish migration. >> these new species that are discovering in the sea, things they have never seen before, which is stunning. >> the sea, they know nothing about it. i did an amazing thing. if you walk up and down madison avenue chbt you say what is nasa, 99% of people know what nasa, you say what is woods hole. 3% of the people. and the ocean is, younow, that is the ocean. there is everything to discover in the ocean. the interesting thing is the first 30 feet everybody knows, but from 30 feet down

t is difficult. and now with little robots, with high definition cameras you can send them down there for weeks d they can go up and down the oceanith gps and you can do research, it was impossible. you couldn't imagine ten years ago. >> let me see the camera, please. >> you have a camera with you, every moment of your life. >> yeah. and nothe great thing is that cameras are so small. so you can reall carry them all the time. is this a new one or old one. >> the advantage of this one it takes pictures in very low light. so i like this. >> how many pickels is it. >> 12.5 or something like that. telephone sounds good ough to my. >> and you keep all the pictures, download them into your computer. >> yeah, because now, one of the few things, it's free. you download them. you put them in. and do i edit them,. >> but it has been the way you have recorded your journey through life. >> well, you see. >> photographs with friends. >> yeah. >> and landscapes. >> and landscapes and food and things that i saw around me. and if i was not dyslexic i

think i would write a journal but if you see my handwriting. >> let me see that. >> my handwriting, i can not even read it myself, okay. so it's really horrible. >> i will only hold it there for a moment. i don't want people read what you have written. >> i don't care. but my handwriting is so horrible that i often can't read what i write so i thought if i take photographs there should be a record of my life. and you know, i think in a hundred year's time, these photographs will be extremely interesting because i have recorded, i mean i didn't go to vietnam. i didn't go to iraq. i didn't take pictures of people jumping out of airplanes. but it's a section of the society that i kind of scover. it would be interesting. >> it's one more or chief of our time, exactly what it is. i just want people at home before we go to see. this is the images from the catalog, the first is carla bruni and-- in venice in 1991. >>h-huh. >> there is the wife of the president of france.

>> she was not the wife there. >> no, oh no. >> and one of the st, you know, el sgant lad he-- lads in france, she still is. and all these young ladies in paris idollized he so i was friends of carla and she said oh, i don't think they knew each other. we will go next to her. we'll take a picture and it's a kind of a-- i like it. jack lien is wearing this incredible dress and carla is smoking, which is bad. and it was at a party in the very glamorous party in venice. and it was fun. >> next picture is mick jagger and arnold schwarzenegger. you took this. >> i took this. this was at the festival many years ago and mick is protecting the big-- from the paparazzi. >> the next picture here is within. >> this san incredible photographer. he died. i think he was the most

important photographer of last century in africa. he is like the a done. and he was a portrait photographer. and you could see him next to the wheel, you can guely see him there. and i found, i saw two of his pictures in a show in new york and it says photographer-- and we found him. and i am now represent the state and this is somebody who is going to do a lot of work. >> thank you. >> thank you. >> it was really fun. >> thank you for being on captioning sponsored by rose communications captioned by media access group at wgbh access.wgbh.org

. >> funding for charlie rose has been provided by the coca-cola company, supporng ithis program since 2002. and american express. additional funding provid

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