the wherein-- brand name that the republicans have created for themselves, and barack obama becomes the beneficiary. at some point that will change. so i think things look very good for him on february 29, but we've all been around long enough ton at this stage, bill clinton looked like he was in pretty bad shape. even ronald reagan didn't look that strong. romney has a long-- you know he has a long haul and he can turn things around, but, boy, he has to turn them around because he has had a very bad month. >> rose: mike, if you were writing a speech for him to start the campaign in ohio what, would you say? what would be the theme of your speech? >> well, i would be-- i'd be back to laser beam on jobs. i'd take a positive tack to the campaign. i would not use the candidate mitt as the voice of negative attacks. that's what you have surrogates for and advertising for. i think mitt ought to run as a strong coach. define the job to fit your guy.

mitt is a tough business guy who delivers results. he shouldn't be the lovable smiling guy. they think he is a rich wall street shark. that's a bad thing, but if you can turn the job of president into somebody who does more than talk, actually delivers, a tough coach kind of argument, then you fit the job to the guy and you can make the argument. so i want less smiling salesman. i want more tom landry. >> i totally agree with mike on this. i think-- get him out of jeans. mitt romney does not look natural in blue jeans. make him the business manager he is -- >> the competent, results-oriented manager. >> let him present some powerpoints at some meet ago. >> rose: ross pero redone. >> let him do what he does naturally. don't try to make him style smiley guy. even if he's cool and comes across as cold let him be the authentic person he is. his biggest problem is authenticity. let him be a manager. >> rose: does that resonate

with you, mike? >> bet on what you've got. >> rose: albert? >> it does. and i think we have correctly focused on mitt romney, because that really is the story. however, charlie, let me just say, i don't believe that newt gingrich can come back, and i don't believe that rick santorum could come back you and the butt i didn't think they could come back before. every rule we have known in politics has been thrown out somehow in this cycle. i agree with everything mike and matthew said about michigan. mitt romney won it, but really more than, that rick santorum lost it. can he get his act together and deliver an economic message in ohio or after attacking jack kennedy, will he go after mother teresa next? i don't know. i think conventional wisdom says he cbut that is an important test, too. >> i think-- i think-- i don't think newt gingrich has a window to come back in this. i think he had his number of lives. he may win georgia and then hopefully gracefully leave. he may not. that would be the time to leave, win georgia and leave.

i think there is a small window in this race for rick santorum. it's small but the first thing he has to do is win the washington cautious on saturday to blunt the momentum. and then he has to win ohio on super tuesday, maybe pick up one of the smaller states, north dakota, whatever, but regain a little of that. he has a small window, but i think mitt romney is still vulnerable. he's the front-runner and regained some of his status but i think there is a small window. i don't know if rick santorum can take advantage of it-- that exists for rick santorum to cause a lot of trouble. >> the best gift mitt got out of winning michigan beyond missing a death experience, he now looks a bit like a winner, the spotlight is on him, the big microphone is on him for a week. this is the time to change up the message in a non-cynical and authenticity-based way and break santorum in ohio. so mitt's got seven days to really, in my view, change the narrative, use it as a messaging

opportunity and take back control of the race. if he keeps doing the same stuff he could get in trouble again. >> rose: mike, thank you very much. albert, thank you. it william shatner is here, a classically trained actor who has had one of the most varied years around. he has done everything from shakespeare's "henry roam 5" to the cult classic ""star trek"." here is a look at some of his work. >> he did not kill my farther. >> how did he know? >> i know my brother's heart and soul. >> how long have you been here, captain? >> two years. >> two years. that's a long time. >> yes, sir. >> any friends? >> sure. german friends? >> yes. >> girls? >> yes. i thought if anybody was going to indoctrinate rinnate her, it might as well be me.

>> don't look at me like that. >> bob. >> i am not imagining it. i'm not imagining it. he's out there. don't look! he's out there now. he-- jumps away whenever anyone might see him. except me. >> trapped forever with a raving mad man at your throat until time itself came to a stop for eternity. how would it be? >> t.j. hooker is the name. but you don't have to lose any sleep wondering what the

t.j. stands for. as far as you're concerned, my first name is sergeant. ( applause ) >> what promises to be a day of astounding musical, theatrical, and dance talents, and after i'm finished, you can see the ladies. ( laughter ) >> the worst thing about growing older, ernie, you begin to slip. one day you wake up and you're less than. and for me, i'm a legend, ernie. i'm folk lore in this town. lawyers have feared me for years, but denny crane to slip, it would diminish my legacy. it would be a tragedy. denny crane has to go out big, page one of the "globe" "new york times," even do me a favor. pull the trigger. >> rose: his latest project say one-man show about his life. it is called "shatner's world." we just live in it. the "new york times" says if it seems moderately insane that an 80-year-old actor who gets plenty of television and film

work should suddenly be trying broadway you just haven't been paying attention to his career. the unexpected is what he does." having said, that i'm pleased to have william shatner at this table for the first time. welcome. >> indeed for the first time, and i want to tell you, i told you off screen, i watch you all the time. you're masterful. >> thank you, sir. >> and i'm so honored to be here. >> rose: we have much to talk about. this one-man show. why? >> australia called and said, how would i like to do a one-man show. i thought tell some stories, there's another guy on stage. i don't need no, we need another guy on stage. i open in sydney, and people leap to their feet and it's successful and i say i have a one-man show. candy, start in vancouver, montreal, toronto has the same high standardses as new york, and i-- i get through toronto. and that's it. and then suddenly, they ask me

to come to new york and that's a whole different ballgame. and so i began to obsess-- i use that word carefully-- about what to do, how to do it. can i do it? and can i make a point that at my age, my life might have some meaning. and since we all ask ourselves in various ways who am i? what am i? and what am i doing-- that's a rhetorical question because there's no answer. fipresent to you some of these facts, you can give me an answer? and so became this magnificent ob-- i hope-- obsession of doing this one-man show in such a manner that it would be effective and well received and bring in an audience. >> rose: so how has it changed from australia to broadway? >> first of all, there's one person. there's nobody saying, and then what happened." there's me editing, film editing

a literature-- a literate thing. as you might write a novel and go from a chapter in a love scene to a war scene, and the juxtaposition gives you a rhythm, so i attempt? the one-man show to play a scene and then suddenly, i'm somewhere else. and then i'm-- i literally say, "i'm sitting in..." and i paint the picture. or i might do it about music. or i might do it about love. or i might do it about a horse. opener i might do it about a show. >> rose: what might we learn about you we didn't know? >> i'm not sure. what you learn about me. what i do know is that-- and every time i've done the show, whether in australian canada, or here-- people-- and especially here-- don't just rise to their feet. they leap up and applaud and i'm overwhelmed by this emotion that

comes across. they don't know it, but i'm reduced to tears that i'm fighting because in a way there's validation. there's acceptance, there's the result of all this work, sort of. >> rose: roll tape. here's a clip. >> the next morning there's a knock on the door. who is that? i go to the door, and it's a little boy. "yes?" he says, are you captain kirk?" ( laughter ) i said, "yeah." ( laughter ) he says, "is this your spaceship?" i recognized the thing standing on the-- on the-- and this thing on the moon-- "yeah." "can i come in and see your spaceship, captain kirk?" "come on in." ( laughter ) i take him to the stove. ( laughter )

"this is where i guide the shea ship." "oh." i show him the shower. , "this is where i beam in." "oh, captain kirk, wow." "get out of here. i'm a theater actor. i need my sleep." "okay, captain kirk." he leaves. there is a middle-aged man on long island at this very moment saying to anybody who will listen to him, "i was in captain kirk's spaceship, and nothing you say will tell me otherwise!" ( applause ) >> rose: did you write this? >> all of it. >> rose: what was the hardest part about it? editing it, narrowing it down? >> see, you're a journalist. i'd say i'd wake up at 5:00 in the morning obsessed by this thing. how can i make that story the minimal number of words?

what does that kid say? what does the kid sound like? and the sounding like, which is the acting, the nuance of the-- the comical nuance of the line, what are the minimum number of words that will conivate meaning and yet get there and get on to the next story. >> rose: that's what art is about. down to its purest, finest form. >> exactly. it's what journalism is about. it's about how to write the best story. >> rose: exactly. >> it's-- it's art. >> rose: yeah. roll tape. i want to see another part of this. this is talking about christopher plummer's understud nestratford shakespeare festival's production of "henryv." >> brilliant and the play is on the sage, and somebody grabs you, you're wanted at the-- at the festival, festival office.

and guthrie's there. he goes, "young man. can you go on?" ask the excuse me?" ( laughter ) you-- you-- you want me to go on for "henryv?" i've never heard of it. i've never said the words out loud, except in the toilet. ( laughter ) i've never worn-- i don't have-- and there's going to be 2500 people with critics in the largest speaking role of the-- english language and you want me to go on?" "of course." ( laughter ). >> mary: there you go. how long is the play? >> it's an hour and-- about 1-- an hour and a half, 40 minutes, something like that. there's some, like, you "you went 143 minutes tonight."

"so what." . >> rose: so what," exactly. when you look back at your remarkable career, 50 years since you were last on broadway, 50. >> yeah, shot in the dark. i tell the story about my going on stage at the age of six. it's a lot longer than 50 years. what am i most proud of? i don't think in those terms, charlie. what i think of in terms of, for example, is what you just heard, somewhere in the last evening or two, i've-- because i've always said i go to the toilet, and when i come to declamatory speeches, i flush the toilet so nobody will hear me. but i add-- i've never said this out loud except in the toilet that night for the first time and it got a law. ang. so a little tiny little moment like that. that i sewed in is like a moment of great pride. >> rose: ""star trek"" will always be what they say.

>> i guess. >> rose: you're okay with that. >> you know, i am. i directed a documentary called "the captains." and the documentary is like finding a story. you say, "well, the guy killed the shot guy." and now you go to find out why the guy shot the guy and a story opens up and it's no longer about a shooting. it's about this guy's personality and what happened and the other person and the wife-- i'm doing this documentary, and i realize that i've sort of dissparnlged "star trek" for quite a while and i didn't really i was doing it until i got into the research on patrick stewart. and i thought, my god. i've had this disparaging attitude, this defensive attitude for years. and i had an epiphany. why? it was a great piece of art. it was wonderful. it changed a lot of people's lives and i should be very proud

of it. why am i not walking around saying, "yeah, you're right?" >> rose: roll tape. this is a scene from the documentary. >> if it were all to end this evening, everything, i would be largely known for my work on "star trek." i would be captain picard. not macbeth, not king leer, not shakespeare, but captain picard, and i am absolutely fine with that. >> wow. >> fine. >> in this instant for to you have said that, here's the gift you've given me. i've made this long journey from los angeles to london to talk to you. and the gift i got is my realization that i, too, would feel the same way if they say, that was captain kirk," all of a surgeon i suddenly had a release

to say, "i'm happy with that. why not?" >> announcer: know what is great about that, two people in real conversation, sharing the conversation and the knowledge and the impact on each other. >> isn't that the best interview to have, interviewee and interviewer are realizing something, something is building between them. i love that kind of stuff. >> rose: do you enjoy to go that? >> the documentary. i have made three or four. an award winning one, "gonzo ballet" where i examine a ballet being made. and one of what fans go to these places that-- where fans go and why. why do fans go to these conventions? and who are they? and it becomes-- suddenly it becomes part of the culture. it's no longer they're silly little people. they're people participating in a cultural event. >> rose: some people believe

that priceline.com has made you a very rich man. >> well, i'm a business major, which i refer to in the show, and so, i know a little bit about being locked up. when you have stock in an original company you're locked up for a period of time so you won't take advantage of raising the stock as high as it will go, selling out to who will buy it and you're stuck with it when it falls. i did, indeed, negotiate, getting stock in priceline.com when it first started. and it went up from $3 or $4 to hundreds of dollars. >> rose: jay way, was a genius. >> jay walkers of a genius, exactly. jay walker said he was worth more money in billions of dollars than general motor was at one point in time. he said i'm going to do a university. i said, "are you going to eni do dow?" he said, "no i'm gog bailed university." >> rose: and that's what he

did. >> the stock went sky high. everybody is waiting, a year, a year and a half you're locked up. a year-- and the moment you could sell it, it was worth pennies. so it wasn't worth anything. >> rose: you didn't sell right then? >> i sort of did. it was all over. the dot-com bubble-- >> it burst. >> it burst. and only an expert would know, but a full of these thousands of companies remained, and the ones that remained had some value, and priceline.com had a value. it gives a service that is really a valuable service. >> rose: and now, whether talking about dating or buying things, a lot of companies have done enormously well. but it's the power of the network to link people up who have similar aspirations. in this world where we live in, where we know so much about everybody, so many people are lonely, as you know. >> my driving force, one that i used to think about a great deal, is loneliness.

as an act oas you go from city to city or job to job, you don't really know anybody. if you're on location in a movie, for example, and you're doing it-- you'd be well up there in the hierarchy of the movie, and you don't know anybody, you sit alone in your room until you're called to the set. sometimes days may go by unl you're back on the set and you're alone. loneliness, loneliness of the life of having to go some place on location, go some place to find the job, go some place-- loneliness is the sickness of the soul. >> rose: is that in this "shatner's world"? >> a lot of it is. i talk about death and what happens. what do you think happens? and what people said-- i say we're dying, what they said and why didn't they tell us. >> rose: the book is about that "famous last words." amazingly i think this was said at steve jobss' memorial service

by his sister, i think, his last words were, "wow, wow, oh, wow." >> i do steve jobs, timothy leery, the last breath. exactly what you said is what his sister wrote, "oh, work oh, wow, oh, wow." i act out the context. >> rose: you do? how do do you that? >> well, what did he say? oh, wow. or did he go oh, wow! >> rose: to watch the moment of death is extraordinary. i did that with my mother. every person goes through this, you're pulled by two different emotions. up to the say hold on, hold on. and the other you want to say let go, let go. you do not know what to say because you don't know what's in your head. nor do you know if they can hear you. >> i faced a loved one who was dead and i looked and i said, what have you done?" they were smaller. they had clunk. it was like death was so

foreign. like where did the animation of this georgeous, brilliant, funny, sexy-- what happened to that? all of that? it was a shrunken mass that was wet and sodden and death is ugly in that way. i talk a little bit about that. >> rose: you've worked with remarkable people and just seeing "judgment at nuremburg" reminds me of how wonderful spencer tracy was. >> wasn't he wonderful? i had no idea. i was so callow. i thought that was a good scene. i thought i was terrible. all your impressions of the past filter through more mature eyes, it's different. >> rose: yeah. if you could go back and do one thing over again what would it be? >> charlie, i am so happily married, i'm in the middle of a great success on broadway, a one-man show -- >> and you're 80 years old.

>> and i'm 80 years old -- >> young. >> young. i'm young. and i've got my health. my children love me. my children are happy. i have animals. i have this life that is so vivid that to say i should have done something else. >> rose: no. >> is not only -- >> ungrateful. >> well, it's-- it's disgraceful. that it might have undone the skein that has been mitt already. >> rose: what is the love affair you have with horses? >> well, horses -- horses are, first of all, beautiful. there is an art in the beauty of the horse. then, when you're past the fear and the techniques of how to ride a horse, there's a communication that-- give me your hand. i can do this and talk to the h.

and the horse says, no, i want to do that. and you say no, no, no. let's do this. and it's as gentle and knowledgeable as that. >> rose: are horses different than dogs? >> yes, they're bigger. >> rose: well, of course. but i think-- the same thing with dogs. you have to be-- let them know that you're in control, yet let them know that there is a-- you're. >> there is the essence of control, herd and pack instinct. but that control from a human being can be just presence. it doesn't have to be, "i said sit down." >> rose: i went in the park and walked a wonderful dog, a black lab named barkley. >> you do? >> rose: yes, wonderful. and i sought other day someone working with his dog, and i-- i just stood there and watch because he was just very quiet and would move and the dog would move.

there was no command-- and you can know that with a horse, you can do the same thing. a horse can feel the gentleness of the mood and feel your own body. >> but that's exactly right. they don't speak verbally. but there's a vast language, dog, horsees, all animals have a vast nonverbal language. if you're tuned in they're talking away. >> rose:shsat wner'orld," we just live in it. on broadway at the music box. captioning sponsored by rose communications captioned by media access group at wgbh access.wgbh.org