>> charlie: welcome tohe broadcast. tonight,peloperuz and pedro almodovar. >> i was fascinated with h as an artist and with him as a pers because of what he represend in our country. the rst thing i remember was in the 1980's and i was watching movies was not old enough to watch, but i was really fascated by his way of seei the world, and theime that i sa"tie me up, tie me down" i was 13 and i always tellhis story, but it'true, that that was th day when i took walk by myself after watched the moviand i dided to loo for an agent and try to becomean actrs so that i could one day meetim and work with him.

>> huge responsibility, butt seems you made a perfect choice to bome an actress, bause i thk she was borno do that job. i saw her in t first movie saw a little piecethere. i was very impressed by her w of acting. it was incredible how, beingo younshe had the inner streth, and also something that is very rar everything sounds authentic, real. i called h agent and te m i ve hern the movie and that i hope that in the ture, that i uld write something for her and that happe eight yes after. >> charlie: almodovar, and cruz for the ur.

next. >> charlie: funding for "chaie rose" s been provided by the following. each day, a billion people won't fi safe drinking water. ound the world, we're helpin communits to access clean ter. working to improve liv through nservation and education. one drop at a time. additional funding for "charlie rose" was alsprovided by the funders. >> andy bloomberg. a ovider of multimedia news and information serves worldwide. ♪ ♪ captioning sponsored by rose communication from our studios inew york citythis is charlie rose. >>harlie: penelope cruz and pedro almodovar are here. they are t people as different as they are alike. she is the glamous car-winning actress from the subus of madrid, spain who

came an international sta afteachieving early success in her own country. he is the oscar-nning director from spain knownor his passionate, vibrt movies wre his women shine. early inheir careers, ty eachimproved andot their talentn their own but most agree something speci occurred when they found each oth. here i a loo at som of their wo, done separately and together.

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>> charlie: theris so much to talk about in those clips but their latest collaboration called "brokenembraces," and here is look at that. ♪

♪ >> charlie: joining me now, penelope cruz and pedro almodovar and an interpreter who is with us if we nd her help. thank you foreing with us. a pleasure to haveou here. this is a review, and it says, "we are like lers, pedro a penelope talk exclusivelabout eir special relaonship." beforee talk about the

relationsh, you were folwing him, almost, when you were young. >> almost stalking him. >> charlie: alst stalng. because? >> i was fascinated withim a artist and th him as a person because of what he represented in our cotry. the first thing i remember was in the 1980's, and i was watching moviei was not d enough to watch but i was really fascinated by his way of seeing the world, and i -- the time that i saw "tie meup, tie me down," i w 13 and i alws te the story but thais the day i took a walk byyself after i watched the movie and i decided to look for an agent and try to become an actress so tha i could one day meet him and work with m. >>harlie: and then you w her in -- >> in her debu but she made a perfect choice to

become a actress, because think she was born to do that job. i saw hern the first movie, "jamon, jamon"e saw aittle piece there,nd i was very pressed by her y of acting. i mean, it was iredible how -- i mean, being so young, how e have this kind of strength -- of inner streth, and also something that is very rare, that everything sounds auentic, very real, and in fact i cl her gent, telling that i love her in the moviend that i hope that in the future, that i could write something for her. and that happens, eight years after. >> charlie: he cald you at your home? >> yes. charlie: and you didn't believe it was him? no, becse i was that was a thinthat i dream about for so

ng, all those yes. >> charliewhat's the lationship? what the essence oft? pedro sa, "we are like lovers," but it unique -- >> b we are not. >> charlie: but you'reot, exactly, but whatis it? is it mus a rd me people use. >> yes. inspir she not only inspire, she gives me a lot of confidence cause one of the things that -- i this ce as a muse, is it make me better directoeven than i am. >> charlie: she makes yo a better direct? >> yeah. -- a bettedirector? >> ye. when someone has this nd of blind faith in you -- really, i thk that she thinkshat i'm much bter than i am, buthat gives mereat confiden. i'm serious. because then i cansk her t do everythi, and she's going to do it, because of this confence. >> charliethe confidence she has in you. >> yeah, the confidence that she has in me, yeah, yeah. for that -- that fai is very

important for me. and in that sense -- no, in many nses she is a muse for me -- mean, usually, the relatnship betwn director and actrees or actors i mean, there is no sex i don't think sex is good for this rationship. i ink it's a very b thing, inact, actually -- >> chaie: bad between a direct a an actor because -- >> i mean, at least that you talk abouthat in the movie. charlie: right. >> because everybody writes about the rationship so in the case ofohn cassavetes and gena rowld, this is the basis of their work, but i don't think find out a way t go to the set with someone that u make love the night before, being a

straer -- and how you can startorking because in any ca, the director is always the boss, sohe relations -- i don't think had ere there is, likeequal -- >> charlie: e has said tha she'more nervous because you want to please him somuch? >> because people ask me now, we haveeen friends for so many yes, since i was kid,ow i'm more relaxed when i'm around him but he'such a big presence, a big personality tha -- and he takes his work very seriously,nd i do too, so w haveeveloped an actualay of protectinghe work relationship, d that means our friendshipven changes a little bit when were on the set. the love a respect is there, and we really know each othe li if he arrives ithe morning, i look athim and know if he slept, if he's in a good mooand i know -- >> charlie: the same way? >> the se about me.

we cannot ally lie to each other, a that's great, but we have managed to keep both things very -- very balanced, and i feel as intimidated and nervous as i felt the day -- the day i went to the set the first time. there is a work eth in his set th is very strong and i don't want to go there a feel relaxeand feel like pedro is my friend. i feelven more nervous each time becse he's given me all these amazing opportunities, i just fht not to disappoint him. >> charl: what did he do for you when "volver" came long >> it came - camealong? >> it me at an important time my career, i started getting material tt was so different from everything that i h done before, and he's a person that s had that imagination with , of knong that i could do

characte that i had not done befo, and he could seeit, an speang of that blind fai th he was talking about that i ve for him, i feel the same -- i feel thathe has that for me because he has given me -- he has risked lot, ging me those opportunities. eversingle time with those four characters >> crlie: do you feel like you know her better than anye else? >> i feel there is seone that know her better than i -- her mother, her father, h brother. perhs otherdirectors. i don't know. but i kn her very well. thiss the point. anit's true that theesult of our collaboration isased in this common knowdge that we have. >> charlie: when do you stt thinking abo her for a role? >> in "volve since the beginninwhen i start writi.

>> charlie: "broken brace." >> "brokenembrac" when nish the first draft. >> charlie: after you finished the first draft because i thought maybe you wrote screenplays thinking of her, in her words your knowledge and intuitive sense ofer would prop the character forward. >> i used to work wit some of e same actors -- i can say that i had dferent periods, and thinking aut the acto or the actress that i used to work with -- when i start iting, i don't used to put faces, becse the story develop, andit change so much that it's better t feel completely independe and free, because you castart with someon-- there is guy, it's an o lady so -- >> chaie: how are you a different actress because you have madthese films with him? >> i think'm cometely different not only a an actress but as person becaus he's

really a good friend and somebody that has beenresent in aot of impoant times of life, so i don'tee it only as aork retionship. you know, yr friends d your family and theeople that you love change your life and change you as a person constantly and he's been present in mylife in a very strong way, ands a ry strong influence since i was a teenager. >> crlie: if y are in trouble, is the person you call? one ofhe people you ca? >> iall him with big questions. >> charlie: big estions? >> or advice, yes. and he -- he sees -- i've gotten a lot of interesting advice from him. >> charlie: have you ever tued down a movie tt he wantedou play in >> no. >> charl: no? thatas not happened >> charliethat has wt ppened? unlikely >> no. >> charlie: tell mabout "broken embrace." >> yeah.

it's a love story in fouparts. >> the most important part, because theris a lot of genre buthe most important part would be noire. and i also thinkt's the saddest role i have written for penepe. >> charlie: y is it the saest role? >> because you know, it' a woman that has all the characteristics of the femme fata, beautiful,intelligent, and -- >> charlie: in a relionship she doesn't like. >> yeah. yeah. t isnot a femmfatale -- >>he's a woman who

condemned. >> i always tried to save h in the beginning when i was wring it but i coul't. sometis when you rite, you are like meum of the story that is going to live. >> charlie: a movie n a movie, so to speak. >> yes, a movie within a movie. >> charlie: he shot you -- the ening scene was shot when y did not know you were beg photographed. >> yeah. i did not know. the beginning of the movie showed metanding a we go into position anit's right before -- whahappens, right before we dohe tak and it's a private moment of t acrs, and he shot that, and it was such a he surprise for me when i saw the movie for the first time, but it's beautiful mont, because nobody was aware of being watched, andhat's wh special things happen. >> charlie: likewhat? like thinking -- instinctively thinking? king yourself somewhere? >> that wod be the perfect state r an actor. that would be the total freedom. to be able to e things you do when you don't know you're being watched that's whatou

want to achiev as an actor, and it's the most difficult thing. >> charl: in other words -- because that makes itore authtic and more real and more on target? because you're jt living whater action you're doing -- you're just doing . you're not wating yourself from the outside dng it, yore just there,and it's the rdest thing. >> charlie: how do you gehat? >> it's like -- like a little -- it comes and visits you and you always want it to be tre but the mo youorce it the more it goes away. it's like a danc with something that ishe opposite thingrom control, and y can kin of have to ma peace with the fact that controlis not ariend of acti. >> charlie: ye. >> that's what love abo it. because i'm aittle bit of a ntrol freak. >>harlie: yes. i know. >> and with this -- >> charlie: go ahead. >> with this -- with acting, there -- there is no place for control. >> charlieand how did you learn to let control go? >> well, when you expeence

that -- that feeli of freedom, even if 's a feweconds here and ere, it's like drug. you just wantore of that. then you know things e right when tha happs. >> charlie: did you reh that halfway in your career? or did you reach it early? i don't knowif i reached it. it'sore of a filing, not speaking o a result, it's me of a feeling, or wher your ego is not part of what you are doing, and is just moments. ments through m career, i would y little moments re, anwhen i have experienced that freedom,ut it's not there a the time i wish. charlie: how do you direct her? >> well, first of all, rehearse a lot >>harlie: you do? >> yes. charlie: still? >> because she's very demanding. also, i am very demanding. >>harlie: yes? >> fortunately, she'seady -- before doing amovie, she's ready, like four mths ago, and

pedro, "we do whater youant for the four months" soe have time, and time isery expensiv and usually the people don't he time before making the movie, d so she always givto me a lot of time, like three months. then y know, she really -- the way she get thatonfidence to let her goo free, she says withoutcontrol, is to know deeply the character and everything around so the way that i s that she feel like that is after -- after being rearsing at least two months, then --then let's say that she touch e character and then she can go beyond -- i mean, she can be -- i mean, sh can -- she can go even farthe than you think. so this is ry important for us. to rehearse. >> for s, is a tasure to have that time. to have a director that is also

the producer of his own movies and wh is the most expsive thing in a movie? is time. and gives the time to the actors, to every departnt, and nobody will starthooting uil he thinks everyone in every department is ready,nd that gives you kind a confidenc to kw that you can relax and try things a tusand different ways so that whenou get the set, youave enough information your head to throw everytng away and just -- >> charlie: do i >> fly and try things. yeah. >> charlie: take a looat this. this is a cliprom "broken embres." ♪

>> charlie: lena i three characters aleast. >> yeah, i think so. >> charlie: o is she? >> when i sayt's three, the

woman she canrelease -- she can rarely show that ithe ginning the way she's with her family and later th way shes wi mate with the love of her life where she has little window of happiness and hope. and then there ishe woman that she has to become the woman thathe has to pretend to be in herlife, and that also cludes ing a very good manipulator and great liar a a great acess in life, and then ther is the charact that -- that she plays in e movie, inside the vie. >> charlie: she's a d actress so you he tolay a bad actor. >> we don't ink lena is abad tress. >> she's an tress that sometime when she comes to the set, sheas so many proems that is -- is easy for merto make a cedy so she needs a -- is easy for her t make a comedy, so she needs aot of takes to reach theood one, so it's funny, because then have to shoot some takes wherwe see her -- that she has so much problem th she does it very

badly, so she' not a bad actress, but thaher problems arso -- so bithat when she -- i an, it's not easy for her. but then the rest at the en good. >>harlie: take a look at this. another clip. this is wherernesto lists a lireader to decode the vid of a conveation between ena d mateo in wch she says how pulsed she is by her man, ernesto.

>> charlieyou say this is the most difficult filyou have ever made? >> yes, it was, ifact. it was the longest shooting, and also, to mix a these genres in the austere way that i was tryi, it was very -very difficult. it was very easy to exaggerate or not to tell the story --

>> charlie: what was the challee for you? >> forme was a challenging character, and i think the hardest character that i hav play with pedro because she's so difrent from me and her energy is in a completely different place, a she has a very, very, veryough lif for a long time. yes. >> charlie: you watched the women in your mother'shair salon. >> yes. >> charlie: and watched th as almost an actingexperience. >> yes. for me, i felt that her salon was my first aing school. >> charl: it was your laborary. >> i loved oerving those women, and i wouldave the book anpretend that i was studying and doi my homework, t i was rely fascinated bythe bevior of these women. >> chaie: because they were so en and theyould talkabout thr lives in the most -- >> they were -- all of them wer acng. all of the walked in the and had this idea of how theyanted to look but also treated m mom

like their psychologist cause you know, you tell your hairdrser all yo personal dra, and i loved oerving the relationship that she had th all of tm, and really, the best acting school. >> charlie: is film alsois a kind of homage to other lms. >> yea absolutely. these couples inove -- all of them are related with movies. one is the prucer, the other is thedirector, t other is one actress, so it's the profeson, so the cinema is ju like behind them, and during the shootin i dcover w -- how much i love -- not this professiobut the movi. the cinema at the end, i realize that it was like a declaration ofove tohe cinema because i ean, fe is very perfect for

everyone, and cinema make it a little more perfect. and really, i was talking about my professiobut i was -- i was -- i was doing this mo for the movie th i saw, for the happiness that i received om the cinema. >> chaie: yet, you have passed recently -- or are about to pass your 60t birthday, yes? >> how do youknow? this is the first time'm taing about this. i don't recognize this. >> charlie: you n't? >> no >> charlie: buyou also say th you want to speed up you want to do more lms. >>yes. >> charl: there is a sense of urgency about wt you want to do. >> no, now i want to makeore movies than bere. >> crlie: and she wants to slow down and make only one movie a ear. one a ar sounds great to me. sometimes, maybe two if theye not too long but want to live my life. i dot want to juste on a movie set. because for ny years,i was doing four movies year,r three a year. that meansou're always living in a hotel. always tveling and working a

-- >> charlie: so yo just want to live. >> is important. also, i mean, i don't do it for that rean, but also too this job --t's weird to call it b, but it's a job -- you he to have the time to travel, not only to travel to work to have space for improvisati and -- for life >> charl: growing p, you could never dreamf being an artist, of being an tor. yes? >> no. it was like a scice fiction thout, because i didn't have ybody in my family or in my neighborhood or friends who could make a living out of a job related toart, and that's what i really wanted, d it seemed like an almost impossible ide >> chaie: where do you think you are now in thijourney?

i'm in a very good place because i ha found a good balance ofreally, enjoying my workut not being afraid of ying no when i fee -- for whatever reason, like -- i was a littleit addicted t be on the set, and i really lov workg, t the last few years -- the lastfour years, i have slowed my rhym a little bit, and i may be acting one or two instead of four, but that makes me enjoy the time on the t even more. because it's more -- it's more balanced, so i feel happy about that. >> charl: how is itorking with wdy? >> very interesng experience. >> charlie: in what y? because he doesn't expect - the opposite fro pedro and them in the prepation. >> charlieno rehearsal? >> no. we rehearse, li, three months. and woody doesn't like to rehearse -- mae on the day, li, right before you do the scene, he ll do run-through

st for the camera sitions but he doesn't like to rehearse, but ihad a veryood experience working onhat movie. charlie: you won an oscar. >> i also had a great time. >> charlie: you lovedit? >> yes. and woods such a funny man and so clevernd -- i w very happy, and feel very -- very priveged to be ab to go from pedro to woody. i couldn't believeit. i go from one set to the other, from the movie and -- >> the name of your biogray. >> charlie: rom pedro woody." thmemoir. >> yes. charlie: yes. i'm very luck to have done ta-- gone from one to the her. >> charlie: do they shar anhing in common? >> for me, even if they have veryifferent way to approach the pross of shooting, they share -- i think they are a lot. they have aot of things in comm. i think they are both extremely

brliant mindsme they have an incredible sense of humor. and e way they can poray the irony of huma confuon -- i think is -- th are poets, no? >> charlie: yes, s. >> and they can make you laugh at things whe you don't know if you a supposed to, and you aralmost a little guilty, but it's like sh you think theay they arend so brave, and never judgment of any ind, and i think for sure they are two of the most free and brave artists th cinema will ever have. >> charlie: what do you ink the percepti of pedro is? i think everybody knowshat he is a genius, becausee is -- and i think an-- and i think metimes -- sometimes bause he is so gd and hehas done many amazing things, sometimes, the bar is so high with him -- especiallyn our country -- that i wish he woueceive the

lovehat he deserves, a they give i to him and then they taket away. it's like a strange dance they haveith him. but at the end, you ask eve sile personknows what the value of his incredie talent. but that's very -- is a thing of our country, yo know -- like think if we have to learn something from the french, it would behat -- it would be "take care of your own product and value and respect." >>harlie: you mean e french take better ca of their own? >> the french are t best at that. the french- they -- that's why they want adopt him, because it's like how can they not know what they have with him? and with m, i get furious about -- about -- >> chauvinis -- the french lo frenchthings. >> charlie: we all know at. >> thas what i meant. for , that's a virtu and it's something thawe, in our

country, should len, because they are the great examp of that. charlie: all of us should learn th. theris a great sen of pride too, and it's sense of france -- it's part of that, b it's also -you know, very mu a respect for even for their companies. it's across the boa, a sense -- but you feel ait of underappreciated, occionally in your n --ome on. >> it's true. >> charlieshe's right. >>o, no, it true, they treat me like that but -- >> charlie: do you tnk it's because i'm interrupting, but do you think -- >> i don't complain. >> crlie: you clearly don't. and you recoil from when they call you a genius. you don't like being cald a genius. >> i think she's too generous. >> charlie: she's not to generous but you d't want to feed expectations. >> no. it's awl, you ow, to have the feelin that you have to make your best movie ery time -- >> crlie: very interesting idea, yes.

>> i mean, this -- mean, the xt one, or this one, should b the be of my vies. this is a kindf a -- i don't like that sensation, b it's true that, you know, in my country,e treat badly the localartist. >> charlie: across the board not just film butalso painters andmusicians? >> i'm not the only one. i'm not the only victim. spanias are like that. this is part of us, an i reall -- reall i don't mind, but 's tru tt they are sometimes very tough with me, but you kn, what i really regret -- not regret, what i n't like is not -- not for me but somimes, you ow, they are ugh and vyunfair with th acto, the crew that is

working with m then for them it's much more important than for me, the awards, very simple,nd they are alwa -- as they say -- charlie: stingy. what's missi for you, if anything? >> i really feel tt i have be learning throughout these yearand now i know exactly what movies want to make. and it's really arting now that my caer is begiing. >>harlie: he's 60nd he thinks his caree is just beginning. isn't that great? >> yes very much. >> no, no, no, absotely, for that reason i tel you that i want to make more movies now beuse you know theprocesss very different from a director and an acr. he canlay in four diffent -- five diffent movs every year, but this is no the situation for us. i mean, f us a moe is a part

of your life. at least is one year and a half and more if y write the scri, which is my case. and i wanto g it quicker because -- charlie: you think he knows you better tn any other direor? knows you? understands you? feels you? >> of course. of crse. we are friends forso many years. we he done four movies together. long period of ti. for sure. >> charlie: and that simply gives you confidence, as yo said earlier. >> yes. to know that ian't hide anything from him and tt he has this great detector for trut you know for actors, and he deman that, and it's great to know tt he's honest and he will tl you if he believes something o -- or if he doesn't he's vy honest,nd that's scary, but i would rather ve th when i workin >> this is t -- she is -- the

only compromisewith her is th i hav to tell her the truth all th time, and this is -- is is que -- scary. charlie: what kind of trut do y have to tell her? >> everything. everything. in ery sense. >> charlie: this public and private? is is -- >> no,o, no. >> charlie: t personal? >> no, no. >> chaie: but you love her enougho want to help her if you think she' going down t wrong path. >> don't worry. she speaks his mind. heoesn't have that problem. -- he speaks hismind. he doesn't have that proem. >> he dends that it be that way. >> charlie: you needhat from someone that youove. >> in th business, u find so much love, ve, love, everything is great -- and that i have an allergy to that. and he's the opposite fromthat, so our relation has always been

-- >> charlie: you don't need what we often call "yes men," you don't need pple sayg yes to you and notbeing truthful with you? >> no, especially if you are working. maybe with the best intentio but they want tell you everything is right al the time, and then you he no motivation. you havno -- >> chaie: where elsedo you get that other tha pedro? >> where else >> crlie: yes. who else givesou that? >> we, i am only surroded by people tha -- that nt that too, you know lik all the cards the table and things the way they are. >> charlie: if you look in the mirror at yourself - if you ok at this, doou see yourself here? >> no. i look at that and i tnk what azing photographers mark and marcos arend what a great lit. that's what think when i look at that picture. >> charlie: what don'tou have? what don you have? >> what don't i ha? >>harlie: yes. >> so much. >> charlie: like what? >> there iso much in life that

i want tdo, and eve -- even wi my work, but even th my work, i don't feel ie gotten to a place where now -- because every time-- as an actor, i real love acting, and every time itart a movie, i fee new. i feel i haven't done i fore. w was it? i don't remember. i think they're going to fire me. i addicted tohat feeli and i no joking. >> crlie: the fear that "i'm not going to make it th time and they're goingo fire e" or the critics won't le it? >> maybe was right metimes t i wouldn't remember w to do itnymore because it's a process tha is so alive, and it feels new. if you are 95 and makg a movie, you fl new, and i love that, an that feeling is very addiing. >> it's anadventure. >> charlie: is an advenre. yeah. >> she probably --ore than many wl throw hself out and take risks -- especial with you because e has confidee in you.

>> yes. with me, absolely. absolutely. because perhap because lso, we love each other, and also -- with this nd of blind faith, she ablutely make everything that i ask includinghe more risky thgs. >> charl: she's right there taking the risk. i want to see a clip from "vic cristina barcelo." here it is. >> they're nothing. hodo younow i te picres? >> i foundhem in your ggage. >> youent through my luggage? >> of course i went throughour luggage. rst night i was in the house i didn't trust you. i didn't believe y were who you saiyou were. iwanted to know who was really sharing the bed my ex-husband. what? >> who knew what i would nd

the? whknewou could not hurt me? i had thought of killingyou. >> charlie: te me what you saw inhat performance >> i saw -- that was very risky to do. what she did, becse -- i mean, i don't know woody allen. i don't kn how -- >> charlie: you did t visit her opponentet? >>but justistening what she said, it's a characte sharing the stream -- i'm telling even my character, very, very outrageous and vy under -- but really in ts case she just appears like that on the set- and then is -- th is really risky to do what she does in this movie. charlie: what elsi saw in that movie, which is sort of the range that she goesthrough on that film, which is the whole range of emoonal release.

i think the range is more -- th range that penelope has as an actress that can be at the same time a mood, wit cristina or in my movies -- three differt movies that they a comptely different character. i think she has a lot of range -- re than the character cristina, and the risk, with this kind of chacter doing like that, if yo don't do it precisely, you canbe grotesque oridiculous. and you have to ve a lot of talent to dothat. >> charliedo you feel more nervous if you're making a movie without her? >> i i have one character that is completelyfor her, then i will be sad and i will miss he but i ho that i wl have time to wait r her. >> charlie: does she, as a director -- and if he does, what

is it? understand women bette-- >> better th anybody. >> crlie: does he really? >> yes. >> charlie: better than anybody? >> better than anybody i know, i think, because he is surrounded by a t of special women, a i think he has always been such a grea observ, and dedicat a lot of te to observe a -- and i think women can be very fascinatin and i mean, i think he really, ally knows . >> charl: why do you think that is, pedro? i don't know. as she said i was surrounded by womewhen i was a child. i wa dedicated b men. in that moment, mother take us everywre. so for me it was like was stidious to loo at my mher with the neighbo talking -- becaushey never think that there is a child four years old listening,nd i was listening, and takg notes of everything that i heard. >> charlie:amazing.

you're in e salon watching -- >> absolutely. ye. >> charlie: yore with other won taking notes. >> yeah, it's true, it true i thout about th when you we tellingly that. -- when you were lling that women e not so difficult to understand but it' also very fficult to understand men -- human beings are very difficult to uerstand. >> crlie: that's true, that' true. but notespecially wen-- >> charlie: men or men more difficult to understd? >> equally. >> charlie: ye, tually, i agre i think that's true. but your capacity to undstand won has nothing to do with your own sexua orientation, does it? >> i don't think -- depen abou-- >> charlie: ere do youhink it comes om? why is it that he more than anybody you know derstands women? >> i think becauseof what he was explaining how he lt -- fascinat, and observed, and studt -- a very natural way. >> crlie: what's next for you? my imminent future is that i ll be traving, proting

both movs, "broken embraces" anthen "nine," so cannot really shoot movie at the same time i do that. that going to go on for a few months, maybe, unl february, something like that. so now i'm readi script it is and trying to- to seehat i -- reading scrts and trying to -- >> charlie: it doesn't sound like you a slowing down at all. >> i hav't made a movie this year. >> charlie: "nine" was shotast year? >> we finished in february, part of ts year. >> charlie: how does rob rshall factor -- >>he's amang. he is amazing. >> i think he' don an incredibleovie and we areso lucky that the dector was -- >> chaie: you danced and you sang. >> isang. >> charlie: ansing. >> rob was really amazing with us. we re so ervous. he also gave us a l of time preparatn and gave us great tehers and -- >> charlie: you spent some time with sophia loren. >> yes. >> charlie: one the great womeof the world. >> i love her.

i saher intervi with you. greainterview. i lo that won. >> charlie: at did you tk abt with her? >> everytng. everything. we met and we were very relaxed with each otr and we felt we uld trust each other, and e s had an amazing life, and she has se everything. >> chaie: and has some wism about it all >> a lot of wisdom, a she's -- so kindnd -- she was always rried about me not eating enough, which i don't uerstand because i gained ninekil, for that movie, because i wanted my character to be fuller and i was eating more than er and she still didn't think it was enough. we created that of -- >> charlie: did she talkbout enjoying life and making sure thatou drink deeply of life? >> shenly talks about that. she doesn't talk a lot about the work -- less, of course, i was -- about mastroiani, but it w

all abou -- the important things. but the work has also been a ry important thing in her fe. >> charlievery. >> she's m amazin people an she'done so many amazing things, and a very, very interestg woman. charlie: i think she's celebrating her 75th birthd. i think in the -- soon. 73? ye. >> you knothat i went to -- i went to the shootingust to see th together. cause i wanted to see ophia ren and penelope togher because i knew that the relationship with them was very good and i don used to do tha but i have a picture withthem. >> charlie: the three you? >> i was like a fan, you know. yeah. i hasomeone take a picte. >> iant that picte, by the way. i don't have a cy. charlie: thank you for coming. >> it was fantastico see them both. >> charliei can't wait. the movie is out when? soon? >> cember. >> crlie: it's extordinary. there is an early buzz abouthe film becausef -- everything. thank u, pedro. great to see you ain.

thank you so much. >> thank you smuch. nice to see you. >> charlie: thank u as well. thank u for joining us. we'll see you xt time. speaking of movies and film makers, next wee tim buon ll be here to talk out his films and a new exhibition of his sketch at the museum o modern art. >> when i got to make movies, it was the biggest surpri ofy life i had madeuper-8 fil like every her kid and i liked moviesut i never tughtat a young e "i'm going be a film maker or i'm goi to bean artist," my ssion was just i liked making thing-- you know, that was the cl thing, whether it be a drang or a movie or -- or a littlewriting, tre was someing just about making things that was the mo importt thing to me. >> charlieis it different day thanhen you were a child? >> n -- i mean, i- i still love it.

it's a very pvate process for me. that's thetrange thing about this show it's all stuff that was really never mnt to be -- kind of like, "would you like to come see m rty derwear and so collection here?" you know, so it -- it's very exposing - i feel quite exposed when i do a movie and th is even more of thafeeling. >> charlie: en do you aw? doou doodle all the time you have a pad? >> i've got my lile things -- -- i d't have anything with . >> charlie: mai seeth? >> sure. t much in there. >> charlie: i wanted to show -- you did this -- this is what te me what this is. >> that's me -- t opening of thshow. >> chaie:hat's you looking at the -- >> at my cry for help. >> charlie: this i psychological to >> yeah. >> charlie: shall i coinue re? >> no. there is nothing mo. >> charlie: , no. what's th? >> thas jus apig. i don't know.

>> charlie: you don't ow? >> jus did . >> charlie: it's as much abouthe doing of the drawing as it about whatever comes out? >> a lotf the characters -- i remember like long time ago would just be sitng here just drawing and i drew -- -- i had a ole sketch pad of this chacter, you know. and then itust -- >> chaie: i like the. this was jus in your pocket. >> i -- i don't he -- i don't e a blackberry. i don't use a mputer. charlie: at all? >> i hate thephone. >> charlie: at all >> no. >> charlie: you ve somebody thatalks around wit you that hathem all? >> yes. but i drew this -- >> charlie: let me see it. go ahead. >> i draw him -- and then i would have a whole thing of just like "wt the hell is this?" and then itart to kind of go, "well, is ere something about this characterhat means something to me?" so it comes much me from the suonscious than it does sort of like -- you know, iet woied about myintellectual mind because i find that - when i'm thking of,you know, a

thought, i td to playricks to myself. >> charlie: m going to keep this and frame it. you will ner see this gain. >> isn't that a beaut? yeah. >> charlie: here is wh i rely like. look at this. tell me what ts means. it says, "11:05, 11:35." >>here is an exclamaon point. that'she scariest point. i kept ts, because i have -- i writdown people's phone numbers bu i don't write dn their names so i have is whole collection. >> crlie: exactly. >> of phone nuers. >> charlie: put in yo computer and yowill trace -- if you've got the number and you dia the numberou canind out whatt is, which is a godsend tome. a godsen >> i hate the phone too. >> charlie: are you expressing anything here other than jus ntemporaneous impulses? >> like i said, to me, the world is so fas and such- in the movie industry, you he to -- you're always reacting to things. >> charlie: right. >>he time was spen just sort spacing out or sleeping or

dreaming or st looking. to me, thas the most valuable time tre is, beuse that's wheryou do -- for me, the rea work. that's wre things sort of -- mutated or -- you know, bubble up o ideas come to you or- you know, meanings of things -- again,hat's why i have always liked fairtales. they're not real, they're no -- you now, they're fantasy but -- you know, as we know, all great fairy tales are based in reality -- you kn, s that to me is veryvery important, those moments of just -- that sort of space. ♪ ♪ caioning sponsored by rose communications captned by media cess group at wgbh access.wgbh.org

>> charlie: funding for harlie rose" has en provided by the following. >> 60% of all waste can be recycl. bevera cans and bottles are among the most recycled in t world. and we'ralso working toward more efficient berage containers, one dropt a time. >> charlie: additional fundi for "crlie rose" was also prided by these funders. >> and by bloomberg. a ovider of multimedia news and information seices worldwide. >> we are pbs.