>> ros welcome to the broadcast. begin this evening with "time" magazine's pers of the year asescribed b"time" magazine'sanaging editor ck stengel. >> this year was abo the economy and about the disastrou outcome that might have happened so i was looking f somebody througwhom we could tellhat story and somebody who by virtue of his actions mad a difference in transforming at happened this year. to m that person more than anody else was ben bernan. >> re: and we tal with the ars of "crazy heart jeff bridges. >> was quite fearful about this par even though itwas ch a great opportuty. almost not...ven though itas a great opportunit, but almost because it was great opportunity it w frightening. you know, it's like... you know, it's like this is the open, you're a wide recver and you'veot... they're throwing that long ball a you can smell

at touchdown and you say "oh, god, let me catch this ball!" >> rose: (laughs) we continue our conversation about the film "crazy heart," joining jeff bridges and she maggie gyllenhaal e actress and scott cooper the director. >> clearly having no prior experiences, i he to say, chare, that when you ha actors of this caliber w are so cnected with chemistry it was st immediate and their work was st bone raw. mean, it's a dream. >> think actually everye on thset,ncluding you, everyone was worried i was having all these feings and wanted to respect me and wante to go quick anjeff said "let it every time and you can... who knows what will happen." >> rose: rk stengel on "time" magazine's pern of the year. ben bernae. and the director a stars of "crazy heart" xt.

if you've had coke in the last years, ( screams ) you've had hand in giving colle scholarships... and support to thoands of ouration's... most prosing students. ♪ ( coca-cola 5-note mnenic ) captioning sponsor by rose comnications from our studios in neyork city, th is charlie rose. >> rose: ben bernanke haseen named 2009's pson of th yea

by "time" magazine. as chairman the u.s. deral reserv he has been a central player in guiding the u.s. economy duri the financial crisis. in this week's issue, "time's" michael grunwald writes "his creative learship helpe ensure that 2009 was aperiod of weak recory ratherhan catastroic depression. and he stillields unrivaled power overur money, our jobs, our savings, and our national future. this year's runner-s were geral stanley mcchrystal, the chines worker, speaker of the house nancy losi, and runner usaibolt. joining me now rick stengel,the managing editor of "time" magazine and he knows exactly why they got... >> (laughs) >> rose: so go through t process of why this the man for this year. >> charl, to me this yearwas out the economy and abo the disastrous outme that might have hpened. so i was looking for somebody through whom we couldell that sty. and somebody who by virtue of his actions actual made a

difference in transforminwhat happenedhis year. and to me thaterson more than ybody else was benbernanke. >>ose: why not, say, barack obama? >> well, you kn, barac obama could be theerson of the ar every year in the sense that the presidt of the united states is the prime mover behind so many differe things. he was, of course, our person of the year lastear. but, by the way, he's osourced a t of things to different people, including nancy pelosi and, in th case, to ben bernanke. >> ros and to general mcchrystal, too. >> andeneral mcchrystal. so they're all on our list. but in the mt macro way... i mean, thers a kind of poetic justice to what happen this year wh ben bernanke. here's thisreat scholar ofhe great depssion who is in a position to change history himself and realize "i amnot gointo do those tngs that caused the great depression in the 19s." his slarship is a about how the fed actually ma the depression wor in the 1930s by what it did by. constricting the money supy, byrying to balance theudget, by telling america to pull up

their socks. he said "iam not doomed to repeat hisry." >> rose: a he knew the history so therefore he kn what no to do. >> hwrote to story. >> rose:exactly. so tell me the kds of thing heid. >> basally, this story ally started at thend of 2008 when it looked like that whole financial stem was going down. you know, one tng tt... why i wanted to do this story is that i thi american sometimes don't unrstand all of these large forces tha are out the. i know i didn't. i mean, you know, the financial syem and the economy are two different things but if technological syst goes down, it takes the ecomy with it. and thas one of the this that bernanke realized, tt geithnerealized, that paulson realized. and th was the start of a at he did. and then during the course 2009... i mean, he injected arly three trillion dlars to our economy which not only help the banks, it helped studt loans, it helpedar loans. he bought a trillion dollars of mortgage securities. all ofthese things are actuay injecting money in the economy in a goodway.

i an, you know, richard nixon said famousl many years a "we're all canesns now." he's a canesian. we were all canesians now becae we realized wh happen during the great deession is that we didn't put money into theystem. bernanke realized that we ha to. s, there are people who tk abt inflation and th fed... part of its responsibility is to corol inflation but hehad to put out the re and you can't worry about gettg the furniture wet whenou have to put outhe re. >> rose:n the combination first with hank paulson and th with geithner and summers, is he the dominantvoice or is it mply because 's at the fed anthe fed has so much influence? >> is a good qstion. we had the longest and only on-the-record inteiew with him at the f, had a two-hour interview. and, again, remember, we select thperson of the year, it's t personho is for better or worsmost infenced eves. he said many times, look i didn't s this coming, i missed it, i reacted too late, but when i reized what it was, i wen to town on it.

you know, i did whatever it took. , i mean,n that sen, i can't tell you. i can tell y whthe partipants ar i can't tease out o did what. and i think they didt together and certainlyne of the this we thought about was, yourknow is the pson of the year a committee to save theorld? geithner summers, andbernanke. and certain they would have been lid because they all played really impornt roles. >> rose: whenistory comes to judge him, whe will the contversy be? >>ome it willbe as we've seen with plent of books already out the decision to let lehmanbrothers gounder and what that did. that trigged almost a financl armageddon. i think... >> rose: heefends that decision? >> no, he doesn't defend that desion. i think he thinks that was a miste. and that... >> rose: then why d they make theecision? >> you know, they didn't see it coming. th didn't see what the rekar cushions were. >> rose: so theyook at it aftethe fact as mistake >> there was nobuyer.

lookin forward... for exampl the fehas bought during the past year onetrillion dlars woh of mtgage securies. right? they are... we don't even know wh's in tha huge treh of ings that they bought. but he feltthat he had touy it toeep the housing dustry afloat, to support the economy. one of the controrsies will how did they unwind that? what does that mn over the next yr, two years, five yea in tms of the econo. that's a big unknown. and, b the way, it's big unown to him, too. healks about it... and he's very cirmspect. i mean, you kno what he's like. he incredibly mild mnered. ... you know,e keeps aware of eve single phrase that he saysecause it can move markets but that is certainly a concern. and that wilbe a big issue in the years to come. >>ose: "time" magazine's ma of t year. you will s that tomorrow morning. bebernanke, chairman of the federal resee. what interesting about thiss that part of the debate in the coress today is how different people in the ngress see the

role of the d, whether the fed should have the primaryole over financial control or n. a lot of debate continues about this stitution that is man leads rick stengel, editorf "time" gazine. thank you. >> thank you, chare. >>ose: we'll be right back. stay witus. >> rose:jeff bridges is here, he has been call the most underratedctor in america. for x decadeshe has played evything from a highchool football star to an alien to the presidenof the unitedtates a.o.cott of the "new york times" said "some of mr. bridge's prs may have burned more intensely i their prime but ve fewmerican actors over th past 35 yrs have flickered andmolders with such craft and resiliee." here's a look at just some of his work. >> wt you talng about? mend her was in love. >> oh, youwas. she like med just as much as she

ever liked you. >> that's a lie! >> i'll st with her a one of the nights too she done promised. she done told me you couldn't do it that time at wichita falls, wh about that? i n't know >> ion't know if you're man enough to take on a car like this. are you? >> ion't know. i have a wooden leg. >> serious? >>ou never can tel. >> hey! come back here with my car! >> i mean youo harm, jenny hayden. >> i ner missed a beat. >> i never missed the beat! >> that's right. that's because youake it up as you go along. >> te it back. >> take it back? at is this, the third sglad take it ck!

>> eat the kiwi frank. hey! go to bed frank, or ts is going to get ugly. >> employ? youon't go out looking for job dressed like that, do u, on a weekay? is this a... what day is this? >> well, i do work, sir. so if you don't md... >> wl, i do mind! the dude minds! this will not stand, you kn? in this agession will not stand, man. youust look those bastards in the eye and tell tm exactly that. these guys, they're going to confirm you buthey want to embarrass you in t process. they want to sendyou into this administration as a virus. so you have oy one choice. >> yes, sir. >> don't be embarrassed. >> here is the techlogy. i've asked you to simply make it smaller. >> okay, sir, that's what we're trying to do. butonestly, it'smpossible. tony ark was able to build

this in a cave! with a bunch of scraps! >> wl, i'm sorry. i'm not ty stark. >> the lieutent colonel used funds from the pject's black budget to procure prostitut. >> that's lie! >>nd to get drugs fo himself and his men. >> tha.. well, the hooker thing is denitely a lie. >> rose: what doou think of all that? >> >> (laughs) i love seeing it. it's like a home knew mov. brings it allback. rose: any of those roles mo memorable for you? >> oh, all of tse guys, all of rolewere such fun and wonderful memories >> rose: theig low ski, thoughmaybe? >> every one ofhem. the corner ing that actors say, there all like thr children you know? that's so true. >> rose: in h latest film "crazy heart" idges plays bad blake, a washington, d. up

country musian in srch of a comeck. here'she trailer for e film. >> mr. blake? i'm jean craddock from the "sun scene." tape recorder okay? >> go ahead. >> what' your re name is >> i'm bad blake. my tombstone will ve my real name oit. until then i'm just going to stay bad. ♪ you havsomething to lose, you road with nothing to lose... ♪ >>where'd all those songs come from? >> life, unfortunately. i'm 57ears old, i'm broke. >> why don't you s down and write some songs, h? ♪ you called allour shots... >> i kee feelin obliged for neing to apologize for being less tha you probly imagined me to be. can we go ou and find some trouble to get into? >> yeah, big trouble.

>> i knewwhat the risks were with y and i to them. that's one hell of a so. this is going to be your best year in the last seven. >> never too late, so ner too late ♪ pick up yourrazy heart and givet one more try. ♪ ♪ ain't no plafor the weary kind. >> thanks for coming out. it's so good t be home. ♪ one more try... >> rose: andere's a look and

listen athe music. ♪ i don't know,aby, where we've been, where the future ♪ that we've planned so long ag ♪ i don't know ♪ i don'tnow if you'r my friend, go a long, long look ♪ a come back again with me, babe. ♪ bab i don't know ♪ come on back! come on, sweetheart ♪ ♪ all right.. ♪ou think by now i'd know better, ain't got a lot to show

♪ i ain't got a car, i c write a letter, i don know ♪ >> ros i am pleased to have jeff bridges back at this table. lcome. thank you, charli good to be here. >> rose: what is it about you? how do you inhabit al those aracters? >> (laughs) >> rose: and the way you do. >> you know, appach it basicallthe same way, look at aspects ofyself that kind of parallel the guy and in thisne you know, it was music. i've bn playing music since i was a kid and singin and performing. >> rose: and they us to say, in fact, growing up inhe bridges house ho tha beau was out ther playing srts and in your opinion your room with a guitar. >> tt's right. that's exactly right. yeah rose: so you loved music? >> ved music. and, you know, the other thing i do ilook forole models and my main role model on this one was a guy named even bruteen

who i m along the-boneurnett who is the musal man in arge of the whomovie 30 yes ago when w were doing "heaven's gate in n montana up there and chri.. kris kristofferson, aig role model fore in this picture, he aembled all of his sician friends to playmall parts in that movie. and that was six mths of jamming... >> ros when you were making heaven's gate. >> making heaven's ga with sten bruteen and t-bo, d steven, who wrote lot of sos crazy heart, he was with me every step of the y on this one and his life paralleled bad's right do the line. you know fromriving himself from gig to gig and loadingis guitar and amp and, you know, he had trble wit booze and drugs and all that stuff. and so he was righthere.

i could ask him, you know, what would this be like? at would you. what uld you be sayinhere? and sct cooper, the director was also very on about steven inuding... you know, giving us any kind o tips that he might >>rose: scott cooper is a first. this is the first time he'sirected a film. >> first time he directed anhing! no highchool play or anything, man, this is the first time out. >> rose: so you basically said "i'm trusting this g, hean deliver, i've en the script, i've read the scripte wrote and he caneliver"? >> he wro a great script and i've had, really amazing periences withfirst-time directors, very successful ones. i have a long listf them. bakeboys, fabulous baker bs, at was directed byteve clovis, herote thathen he was 23. >> rose: what i is abouthe first time directors? they don't know wh they can't do? >> that's it. that's a l of it. but so you need the tent, of

course, you knowbut we haven ne much beer than mr. welles "citizen kane" was his first time out of the gate there. >> re: tell me about your chacter and then i want to know aut the music. who is bad blake? >> well, he's a cntry singer, countryriter. who's kindf down on his luck. one of the first bs of rection that scott gave me was... he told me if bad blake was a real chacter, he would be the fth highwayman. d, of course, you know the highwaymen were willie nelso, kris kristofferson, waylon nnings and johnny cash. so that helpedme a lot. >> rose: tt would set it for me right there. what else i need to know. >> yeah, that's a gd thing. yeah. >> rose: and you look ait like kris, as peoe will tell you. >> i sure do. >> rose: but the music part, t-bone burnett is i it. there'a story that you called

up t-bone ohe called you before you acceptednd said "let's do it"? >> the way it went, i think when i first got the script i was making anotherovie. i'm ually... i have blinders on, you know? d i read the scrt and i said oh, this is a well-written script and it's about mus, that's a big plus. but there was no music attached to it. it was big msing piece and there was no musical supervisor or anybo in charge. the bar was set pretty high for me with movies about music wh "fabulous baker boys"ecause ey had all those great jazz and pop standards and the great vid bruceen was at the helm, you kn? and this was a big missing pce for th one for "crazy het." so i took a pass it and then about a year later i ran into t-bone and he said me "what do you think about this script razy heart"? and i said it's good, why, a younterested? he said, i'll do it if you do it. i said come o

t's go. >> rose: let's go! >> yeah! >> rose: so he was a character you liked and a guy you knew could deliver the music. >> and even ough we didn't ha any music, you haveo look at the stuff that comes ou of t-bone, my go he's nderful. >> rose: these are songs me especiallyor bad to sing? exactly. the-bone, one o the things he id to me, heaid "we're going to hand-pick tse songs to suit you peectly, so they'll really be in ur wheel hou as far as singgoes." and also tha they really matcd the cracter. so some the sos we had some..some son that were already itten like we had a great song that greg brown... are you a fan of greg brown? god, he's such a wonderful writer. he gave a rrific song called "bra new angel" that he had ner released. >> rose: so as y thought about creating this charaer, you know chris y may have known but kne of waylon.

and you've got t-bone there what is it you waed to know in der to create the thing you do so well is tohave us inhabit this chacter. well, the lin of the script, that's where cow start. what you s about yourse, what oths say about you. and you just start to... like i was saying,ou start with yourse and think about how you ki of link up. the similarities. >> rose: so howo you think about yourself? i mean, you hen'tknown...... >> i've certainly own fear and i've known love and i've knn intimacynd that's what most movies and plays and all those things are about oneay or the other. >>ose: what was the great line we just ard when she said where does this music come from? and you say... >> life, unfortunately. and st talking aboutfear, you know? i wasuite, i was quite fearful

about this part, it was such a grea opportunity even though it was a great opportunitybut because it was a great opportunitit was frightening. it's like bein in the open. you're a wide receiver d they're throwing tt long ball and you can smellthatouchdown and you sayoh, god, let me catch it! >> rose: as soon as u start doing that y're less lily to catch it because you lose your natural instinc >> yes. and so bad, the character i'm playing, he those fears, too and thway he deals with it is boos he numbs hself and think like a lotf artts he gs caught up in th myth, you know that, songs and my art ces ouof my sfering and so

sufferinis a good thing s i bettereep suffering. >> rose: he so has sense of who he is. he resists write knowing that that's easymoney for someo else. >> well, i don think he resists because of that. think he resists because he's nopleased with wt he comes up with. >> rose:h, the quality o it? >> he fancies himself le bob dyla who is another role model for . or leonard cohen. and he's n up to you have? and 's mad himself you know? anas far as the intimacy and love thing the guy has been married four times, you know? so h.. he really wants to fall in love and be intimat and it's just too tough bause when those ladieget to know him he's prettynlovable. he'sn irresponsible drunk, basically. >> ros buts that humanity about this guy. take the charact and how he

se the charact played by colin farrell he's got a big chip on his shoulder, too, ithink. >> rose: the first thing you ha to see is a script and it says this character of intere to you? >> well, you kn, i do my best t to work, to try not t let it suck me in. because i know that i'm gng to ve to be apart from my dear wife susan. she told mthe other day we've been apart 11 of 14 month this is year. so that's not no gd. and i've got lot of other things i like at do besides act as well. and i know if i engagen this one there mightbe something just arod the cner that i n't see that i won't be able to do so do best turn this stuff i read down and usually if it hooks me for one reason or anotr it's like "the godfher" line, they make me an offer i can't fuse. like this one, once that music nell pce, how could i not do this?

anthen everything startedwith these wonrful actors, maggie gyllenhaal, wh we're going to see here in a moment. chance to work wit her, i've been a fan of hs since "e secretar" >> re: what's the relationship between her characternd your kharke she'a reporter with a son. she's doing profile of y. but give me a sense of how you saw the dynamic of that. those two characters comg together. is it loneliness? >> is ithat? >> rose: loneliness? >> loneliness. i think maybe what i was saying about before abouthis intimacy. that he... i think he rely desires that. i don't know abo you. with my wife it was love at rst sight. i w her and it waslike do! that happened bad, i think. >> you tk about your dad once with me andouasically made this really interesting point about him. th people di't... because of

w the television series, peopledidn't know, s ma people, what a great actor he was and what he'd been on stage here in new york. anthat there is probably disadvanta to being typecast. >>uh-huh, yh. rose: which isxactly what you ven't done oking at that rae of characters. >> i saw... when he did "sea hunt" back in the '60s, this real successful t.v. ow, it was nderful but it was kind of a double-edgedword because he got offered aot of scripts after that show b they were all scripts r skin divers. people thoughte was a skin diver that theygave actin lessons to. >> rose: rather than an acto who learned how the sn dive. >> and that s frustrating. he's a shakes spern actor, he replacedichard kiley on broadwayin"man of la man that." >> rose: that s a piec in the "wall street journal" about method acting beuse ofarlon

brando specificay. saying on the one hd there are acrs who ar more like archaeologistings who so of dig down and there are other actorss who are like architects and they constru and most... more american actors are of that type than are tse method actors you seem to be halfway in beeen them based on what you said to me. >> my father was my tcher, my mother awell. and not too lo ago saw a documentary on michaelhekhov and l of audden i see mydad being interviewedn there and my mom. >> re: chekhov, yeah. and i >> and i'm reazing "oh, that's where my stuf came from." and i remember my momeaching me aboutcting and she talked about three different ways to approach a partr a scene that you're worki on. one, do it as if you were t character and explore just how you uld be in this scene.

and then the other way would be do the sce that is dferent about yourself. what is different, lik a limp, an accent. look with your face. and the secondway, you mention thisay architecture and this is probably th most important. but how th scene functio in builng this... building of th movie. and what the functioof tha scene is. and thk about that there's many difrent ways to go at it and one of the great things aut makingovies is that it's communal art form. so you get t work withall o these artists and you t to tap into the minds and th help you transcend your own imagination who ofhis person is. you really... i certainly look to the director and the

coumeer and the makeu person. all these people addo it. >> rose: yr mother lived a lo life, didn't she? >> yes, e did. she di... she would have loved this movie, i think. she st died not toolong ago. >> rose: why would she have loved it? >> any tim her boy does well, yoknow. >>ose: (laughs) >> she prably wodn't, actuly, now that i think of it. she likes when i play the presidt oar doctor. >>ose: oh, she lik that. >> she didn'tig theude too much she wldn't like this guy. >>ose: but is this... the charters that you've played all those we saw, who's the mt like you? who do you think? >> aspects of me... i have aspects of all of e guys the dude comeso mind just because those are shoes. a lot of my clothes were the dude's clothes. >> rose: you sll taking a lot of photographs? >> took some on this one and i'm gointo give you a book after is show. >> rose: a bookof your phographs. >> a booof my photographs.

i us to give the i kind of spped doing itbut i starteon this one again. a bookf photographs i give as gifts to the crew. >> rose: you take photographs during the shoot, e life of a movie, this on being 24 days. >> that's right. >> rose: and you putt into a traffic book. >>eah. and it's thi wondeul camera that my wife gave me our wedding day. it's widex camera, one of those olderhutterechanisms. you know lg shots like the cil war, you know, you see these lo things, just tang this camera, first time i became aware of it s inigh school anthere was a rumo going around that the cameraman was going to take our classpicture had is camera that if you n around real quick you could be in it twice twice. >> rose: (laug) >> it's true! and it's great totake pictures of the movi because it's alst a 70 millimeter format. looklike a 70 millimete frame. >> rose: if you hadn't been an actor you would have been

photrapher or a knewnigs >> i don't know. probly musician. >> ros an artist of some kind. >> an artist of some kind. >> rose: you pat. >> paint. yeah. take pictures, do ceramics. >> re: so it's pretty hard to get u out of tt into a vie. u've got your familyhere. >>eah. >> rose: it's got be pretty damn good. >> i love it. when i'm there, man, have a grea.. well, i was going to say i have a great time bu it's the gamut emotions but it's my life. i love it so much. >> rose:ou are oiously aware of all t praise thas hepd on you andhey still say things like "underrated" which suggests that this gus better tha he's even tald about. that people n't get how good you are. hodo you compute allhat? >> that's the grtest compliment, man. u know, there'.. andhis knew chih is choc full ofthis kind of stuff because as an tist youant to be kind of

invisible. u don't want tobe... this is the kind of art that i admire, u know? there's a ser densene to the actors that i enjoy watchg, like dal that has. you're not watchg him and seeing him almt move like a skiehitting all the gates and trying to ma theudience feel this way a that way. it just feels like you're a f on the wal. >> rose: you don't see the acting, you see the charter. >> what's sct is done is so beautiful, youon't see the direction. it's i so simple. and maggie's the same way. you don't feel that she's just acti, she's just there. and it's wonderf to play with the kind of people that are doing it that way. that's the way i like to do it. man, it's really fun. >> ros it's intesting you say that. here is robin williams on this show talking about you. roll tape. >> the other great gift was jeff bridges who said "whenev there's an accident inerms of filming, n like something lling down, but a line may get

flubbed something goes off that's a gift because tha forc you to be in the moment and deal with it. rather than tryi to improvi and crte that, it'something that happens in everybods mouth... >> rose:espond to the... >> respond to wh's going on mediately. and 's kind o.. oh, cl. and don't be afraid to try those things a it forces erybody to kind of engage asn life with the immiate moment. >> rose: i tnk he has a very good movie out that's getting enormous attention. >> he's one of the great american acts. >> rose: i couldn't agree more. >> and he's underapeciated. he's sonatural. people thinkt's just him. each and every one of his performances is dierent and iconic. in "the big lebowsk the de isne of the greattoner characters of l time. in california it's a documentary. robert! that was great, m. >> rose: i'm going to probe this for a little while. what iit, snowis ital sflent is it... what is it? at gives youhe gif >> a lot of it is... i look at this wh what i do and exact

what aors do,the way we're talking about it as sortf like advanced pretend. rember when you were a kid h ch fun it was to pretend. and this kd of... >> rose: a higher leve of pretenng? a >> aittle higher level of that and i remember playing as a kid the more you got io it and the more the t kid y were pying th it got it into it you id "no, this is real. the more funt was. that's kinof the approach. i don't ow if that has anything to do wh it but it ght. >> it's a joy for you? >> it is. ju watching rob, heas so, so eat to work with in that way, you know. he was... i was kind of frightened to work with him. when i heard that i had the opportity to work with robin. well, i knew i had these long nologues that i had to give... and he was suppod to be in a ma, right? and just imagined, you know

him sitting up there getting me, you ow and i'mhinking how a i going to do is? and was so beautiful and supportive and this kind of zen-like way. he could have been asleep but he didn'tsleep he was the f me and such a beautul way. i'm having all kinds of memories about robin. >> rose: i can see in the you head all flooding in there. >> let me tell y one more robin stor in there. it tells youquite a bit about terri and th idea of th child like stuff that i kind of count on and try to crea this kind of environnt on the set. robin, who would be working long hos, would be 3:00 4:00n e morning, erybody would be bushed and robin (laughs) would plant his feeanddo... start to jam onhe crew and start riff and do this improvision. and we'd go on and on andost

direors... you know, thed be looking at their clocksaying "we've got shoot." but terry gilliam would egg him on say "oh, what abouthat guy?" and rob would go on for about a half hour. and after that everybody was energized, you know? and that kindof joy to th work it really has... jt the word play, at's what it called righ we'r putting on py. it doesn't have toe seris, necessaril but it's also doesn't ha to be... it's sincere, you know, you can play beethoven, you ow? my father, i remember working with him, i worked with him twice as dn adult in "tucker" and in "blown away. d i remember it'srobably the greatest thingi've learned from him and just how he behaved and the joy he brought to h work.

he does sho biz so much. and i notice when he came o the set you could telle was having a gd time and everybody said "oh, yeah, th is... oh, yeah! iforgot! this is kind of fun!" and everody's... it relaxes everybody and ur best work comeout of being relax. >> was it inevidentble that that's where you'dend up? >> probably, i resisted it, you know, because like i was telling you, he lovedhow biz so much that he encouraged all his kids too into it and like a typical kid, i didn't want to do at my parents wanted me to do. so... >> rose: so why did you end up as an actor? >> well, i don't have much of a choice. he carried me on when iwas six months oldnd he wou bribe me wh i was doing "sea hunt." he would say "there's a part for a kiin sea hunt, do you want to do that?" he sai "you getto get out of school. get me money, buy some toys. come on!"

>> rose: (laughs) he was a salesman, too. >> that's right. and it took off and became the path of least resistan. i'd done maybe ten movies before idecided this is wt i want to make my career. >> rose: do you continue t learn? >> oh, yh. yeah. >>ose: but about experiences or about the craft? >> kind of the same stuff. ki of like the same lesson over and over again. dealing withear is one of t in things. >> rose: what do you mean by that? >> well, the emple i was i was ving before. you're anxus because you want to do it ght, especially if it's something you really care about. and how do you deal with that? i to you i had about ten movies under my bt before i decided anthe movie th really put m over and made me cide that this is something wanted to do for the rest of my life was a smu vie of the great

ay "the i manometh" eugen o'neill. i initially turned it dow i s even playing those that back inhose days "oh, i'm bushed, i was just i aovie, i don't want to do it." i finally decided well, i'm thinking abo not being an a, king another path. i'll d exan experimentn myself and if you're a professional, u have to do it when you don't fl like it. ll, i i don't feelike iti want to it and see what happens. maybe this will put the nail in the acting cofn. >> rose: do think and i'll know it's not for me. >> so i get to this, is is directed by johnrankenheimer, frederick march, lee marvin. and all of m scenes are with robert ryan. and wee sitting at a table like this waiting for this tank and bob's like ts and the guy says "okay, we're goingo roll and bob takes his hand and id "we have tfix the light."

and i look at where bob's hds re and the puddles of sweat on the table and i said "bob, aer all these years, you're still raid? you're frightened?" >> h said "i'dreally be scare if i wasn't scared. >> rose: i'd bscared if i wasn scared. >> i'd be scared if i wasn't scared. and i saw all these old pro are scared to death! >> re: so there wait was ay to be sdmard that's right. i read an article of.. mike tyson ga an article i a magazine a he was talking about it. remember the first time y saw mike come ou and you say, mic, my god. you know why fought like that? because he w afraid of having an asthma attack. he had asthma and he said "i better finish is guy off quick." and he goes on to talk about fear. he says fear is likeir you can cook yr food on i, you can warm youelf and you can burn your hse down. it canill you. so it's the same thing. that fear is always always with

me. >> rose: the fear failure? the fear i'm gng to be proven have no talent? the fear of... >> yeah, all of those things and the unknown and the unknown. of maybeaying... of t having fear. >> ros like robertyan said. the fear of never havg the fear. suddenly you say oh, feel very relax. -oh. >> rose: at's something i don't know. >> so it's your buddy and you've goto figure o how to wk with that. >> ros but what doou worry about, snow isit the performance? i'm not goin to remember the words or'm at the d result not going to bas good as i think i am. >> i don't know. i think theind is... it's one of the thingthe mind does is worry. it's just something the that the mind kin of... in buddhism they have this thing called a smpa. and your mi... just like your heart beats. each organ has a tng. your mind has thoughts and every once in a while you'll get thought and now you'll run with

that thoht and yoll say "oh, i'm sittinhere with arlie, i beer say something." and you'l start to work that thought and pretty soonhat thought become this is concrete thing. in fact, it's nothing. >>ose: we're going to meet your director ott cooper. magg will be here and we'll ta more about this film. ay with us. joining me nows the dirtor scot cooper and the stars of the film. jeffridges continues with us and maggie gyllenhaal. first of all congratulatns about is. >> tnk you, charlie. >> rose: rst time you're working with people who know what they're doing. yove got-burne. how did you put it gether. how did you come up with this? >> i alys wanted to tell merle haggard's fe story. and spent a little time wi merle on his bus, theuperchief went to a couple shows and really... growinup in virgia i cut my teeth this music.

at threer four, my parents would take maround the blue ridge mountains of virginiand i literally cut my teeth listening to bill mone and doc watsonand ralph stanley. i was steeped in bluegrass and i got older listening t mydad's l.p.'s of waylon chris and rle and those guys. real wrote about their le experiences. and many of their lives are rip r cinematic explation. so i felt like, let me tell merle's sty. merle had several ex-wive and it made it very difficult to attain the life right and so i turned to this novel, which was out of print and i optioned it. i had never adapted a novel. as jeff said, never directe anytng, high school play, music video. >>ose: (laughs) >> i was naive enou to thini could do ts. so i wro to screelay and sent it to robert duvallho's a mentor omine and a fruent collaboratornd sent it to him hesitantly because he was awarded the be actor for "tender mercies." an bobby, as i call him, he said "scott, i love it, t's

ma it, what do y need?" i said, bby, besides you an money,here's two people i need to make the picre and if i don'get them i shouldn't make the film. one the-bone buett because he'seerless and the other is jeff brges. he said "let' go afr them. so i wrote tm impassioned leers. but i have to y any time a script shows up and robert duvall's namis on it, it gets openeduch faster thanf it doesn't ha his name on it. >> rose: he's your executi producer? >> he's a pducer and he's in th movie. >> rose: you had sething to do with maggie, didn't you? lot. yeah, well we met on the me mere of... help me out. " >>mona lisa ile." >> my nephew jordan bridges w in that movie as well and mage was the movie. she gave a great performance as she always doe and i d seener in "the secretary" and "sherry baby." and i don't know if you came up

to me or iwent up toyou. how'd it do go? >> i hadn't done "sherry baby yet but i had done "the secrary" and i had a couple glses of champagne, it was my premier and i thout i could talk to whoever i wanted and there's jeff bridges. >> rose: not gog to lose this opportunity. >> yeah. and i said " love your movies." d he said "we're going to work together oneay." i think that'swhat you said. rose: yes, i did >> rose: d you mean it >> sure di i could tell she was someby i really wanted to work with and was so glad that we made that connection because she was on the top of my list when we wer talking about who might play je. i saidgod,aggie. >> rose: so you sought out your actress witht casting? >> ablutely. wanted jeff and t-bone and robert dall to be a part of ery decision i made. truly chlie i think i was just smart enough to surround myself with this group of geniuses so that i cld make the film director proof. >> rose: we talked abt fear in

the earlier segmenthat we did that's part of this hour. what were you most worried about? what was the fear that drove you? >> think it was probably the responsibility thai felt a a firstime writer and director with jeff bries' career and maggie, robert dull, colin farrell an t-bone burnett. al who had thisidge body of work. and i didn't want let those guys down and most imporntly i didn't wt to let myself do. >> re: were you worried out first-time direor? >> um... yeah. (laughs) i was. goes with the tertory. >> i've worked th a lot of first-time directors. i tnk...'ve made some goo movies with first-time directs. i'm totally open to it. bui think usually firstime directors get socared, derstandably, i think. they've got a lot on their shoulders. that they... i think they cide befo you get there what the scenes a supposed tobe about and how youe supposed to

respond and how you're supposed to feel. and that's the ath of it, i think. and scott... i mean, scott'sn actor. everyone keeps saying hs such a good direcr because he an actor. is that y he undetands actors and stuff. i don't thinthat'shat it is. he'sike the much more experienced direcrs i've workedith who arerave enough to just see what hapns. like weever planneanything. not anything. d he let it be thatay. >> rose: you looked at the tt and that was it? >> well, we di our work. whater our own work was, diit. and then when w got to th scenes we just ayed them d they were fferent every time. >> ros what did you like about the te in the scripand the characte >> well... what did ilike about it? >> ros she was a realern? >> you kno i think now i kin of s better what it was i liked out it. often when i see acript that i

kn i have to do, i g this magnetic feeling, get ts pull toward it. i know i have to do it b i don't know why until later and in this se she's so much more vulnerable than ybody else i've playeand i think it's only recently, like in the past few months in m own fe that i see hoimportant that it. >> rose: because you've got a baby now. >>, we i have haa bab for three yes. took ma. whmaybe it'sgetting older but i feel like i used to thi the idea was to ju beas stronas you could and as fierce as you could be ani don't think that anymore. and i think thas... that was in jean. i think she's soft. you know? but what ioved about the scpt was that i could te at the scenes could be about a numberf things that if you had a... if it was a really great acr you could come in anplay the scenes and theyould end in kind of 50 slightly diffent

places a the scpt could support that. snoopl >> people often askeif i attend film school and i didn't. i say i tended the robert duvall school of acting and directing and e of his many dictions to me was fora scene stt at zero and end at zero. have nidea where the sce is going to go, where it's going to take you. >> that'sood advice. >> rose: srt at zo and end at zer >> so oft one of the traps-- it probly goes acro the board for other arts-- you'll be maybe take the fst tape and it's very frh and you say, wow, that felt like real life! soow let's recreate that an dohat again. rose: dro what we jus did. >>yeah. and th's the trap. you ha to get back to zero. get emptiness so tt thing can happengain. but if you have this alrea thing there, that can

>> whfr are when i t out the make this lm, i said idea jeff i want ts to harken back to what i think the goldenra in the american fm making, the 1970s. characterizationnd behavior the forefront, not plot." to do that i woul watch movies of terencealick and bogdovich and hall ashby and i wched with theound off and the way they told the story with the dolly and fme and lens that it was all about behaor. as an actor thas a story i can tell. at would allownow come in as a dector and say "we don't knowhere this will go but let's try ." and it gave us an embarrassment of richs in the cting room. jeff and maggie wouldever play the same way twice. another thing i would dos watch documtaries. people had no ide of the cera being around them. live action events,e didn't reale the cameras were her the conversation you and i were havingrior to caras rolling.

that's wt acting is all about listening, react, act, listen. >> rose: what kind of thingso you learn? >> i think from jeff, one thing you actually sd to me... i think you said i to me. maybe yojust said it wit your eyes, i notsure... well, we were dng a scene that was difficult ani remembereff rt of said toe "just let it go eve time." it was a real emotional scene and i was feeling a l of things and ias glad i was eling a lot of things. it was the sort of trap you can get into as an actor. d i think everyone o the set, including you, everyonwas worried that was having all these feelingsnd wanted to respt me,wanted to go quick and jeff just said "st let it go every time." and whknows what wil happen. and, of course that's wha i think i feel about actin and how i think i'm suppod to do it but i forget, have all ese feelingsnd i think oh, these

feel so good. and you said "just let them go." also the otherhing i learned i think from you is we really went for it. got down and did these scenes and i think i learned sething about th. i woer exactly h to putt. i mean, what do you think? >> think wepproach it... i felt wit maggie we had such ttle time to get aseep as we have to get in a movi like... well, all movies,you know. we shot this... we had 24, 30 days, whatever it wa very short period of time d so the way... some actors like to be cled by their character's name and they don't really gage with you as w you reallyre. th like to... fro "actio to "cutthat they're into it. but i like to find out abou the person i'm worki with andget to know them on personal basis

and maggi approhes it that same way. we knew we only had a certain amou of time to getas deep as wead to get and we wer eager, we were up for it. and it was just... it' hard to talk about it and put it in words. there's something you, hear a little voice say.. you know, it's almost like... you know, you're very good,you bring us out. >> re: (laughs) is >> it's lik a magician. "show me ho you'd do that." >> rose: i ow, i know. >> and then y thinkhy did i dohat >> but clearly having no prior expeences, i have to say, arlie, when you ha actorsf this caliber who e so connected wi chemistry that wasust immediate and their work was bone raw... i mean, it's aream. >> but you'r right. i learned so much from him. an i'll never be the me after having acted with him. ever. i leard a huge amou.

i hope itoes thugh my whole life. >> rose: my normal instinct uld be to say "tell me what" but i'll let it go because of you. thank you very much. >> thank you, arlie. >> thank you, chare. >>ose: "crazy heart" opens today in limitedrelease. thank you for joining us. e you next time. captning sponsored by rose communications captioned by media acss group at wgbh access.wgbh.org

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