a drought? >> you know, there are kind of like... there have been, but i really dent think they're... i don't think of them as dry periods. i think of them as relief. >> rose: or fallow. (laughs) >> relief. it's like... it's not happening, i know it's going to happen so i mean all i have to do is stay open and it's going to happen. >> rose: what does that mean "stay open"? >> right here with you right now. just being there and staying open. i think staying open for me would mean... no one's ever ask asked me that before but i think it's like what i said. if i feel it, i'm open to it.

that's, like, the boss. that's where it's coming from. so i go there. so i'm open to it. >> rose: there's a thing that actors have said is that they have to stay open to being ablbl to access emotion they feel. to touch base with themselves, to reach, to connect with something that's in them to say something in a way that reflects the dialogue they have at hand. >> they'll take a part of themselves and let that part naturally come out and go into the character. if it's in there, if they maybe get to a place where it will come out. up? exactly. but they have to make that connection with it. it's there and they have to let it come. >> they have to be open, they've got to let it come. because if they're thinking too much, it's not going to work. it's not like you think about it. >> rose: being open is not thinking but just... being open. >> just being there. just being there and being ready to accept whatever happens. and believe that that is important. it's more important than what's going on.

the only thing that would stop me from doing this would be something where one of my loved ones was in trouble and that was more important. obviously i had to do this, this was the most important thing was to take care of someone in my family, then thatatould be... or anybody in serious trouble. i don't think that i would... but that's about it. >> rose: prow probably don't like this word, but this is your genius. >> well, it's a gift. it's a gift, charlie. it's a gift. >> rose: that's the way you see it. and when did you know you had it? >> oh, well i guess when i started having success in selling a bunch of records and feeling this feeling and the songs would come and then i'd know when i was performing them when i realized that i didn't have to create a record, that i could sing it and then if i felt it in my own soul when i was going down that i didn't feel i didn't have to listen to it, i knew that was the master and all

i had to do was mix it. that i didn't care if i was... if i made a mistake or maybe would try to fix it. but we're not going to fix it at the exxnse of the performance. >> rose: it's always the lyrics first? >> um sometimes i get a melody that rolls around in hi head and you just end up going, wow... or a hook or something like that. but there are little reminders, they just come to you and... but when the song really comes, it all... you know, then the lyrics and the whole thing just tumbles out. >> rose: "u.s.a. today." >> yeah. >> rose: your sense of outrage about the war was already there when you saw? >> yeah, i think it was, i... you know, it's a sad thing. and i see it like... i look at it, charlie, like why? why are we doing this? why is the human race doing is this? and it's... i try to stepñi back and see it and i... you know, in this record i got really involved in the present, which

is, like, turmoil. it's terrible to be involved in criticizing the president and doing this and that and talking about things in the first person and getting right in there. it's like i've got sucked into it. i was part of the turmoil myself. which i wasn't happy about. and i'm not happy about it now. but it happened. >> rose: sucked into the turmoil as being part of the debate? >> being part of living with war. i was sucked into it and i got angry. i was angry about things that were happening and i... this is just not right. this is not the way it should be. i felt like we were being lied to and things weren't true and we were getting told... sold a bill of goods and even... you know, we know the story. we've seen the news, we've seen the senate subcommittees and the things that they've discovered that were wrong that... you know things weren't as they were told to us to be. but i don't want to harp on that. where i want to go....

>> rose: well, you had an album. >> yeah, i did the album. i did the album, i said all of what i had to say and now i don't like to do it again. i don't like singing the songs, i did it. i'm not cnn. i don't play it over and over. >> rose: i know how you feel about that. actually, i agree with that. (laughs) >> so i don't want to do that. i want to... what i want to do is try to make a difference in another way. i really think-- and somewhere along the line this year i figured out-- that, you know, i really can do something else. i have a lot of other interests, you know? and one of them is mechanical and i look back at... and technology and all of these things. i look at what's going on and i go, you know, why can't i be one of the people who tries to do something? to replace the type of transportation that we use?

>> rose: well, you are trying to do that. >> definitely. >> rose: you've got this hybrid car. >> yeah, that's what i'm trying to do. and i want to do that. i want to... i set a goal, a lofty goal for my organization of my friends that i've met to eliminate roadside refueling. >> rose: i know, i know. (laughs) >> you know? and you talk about the audacity of hope. >> rose: (laughs) exactly. >> that's what i want to do, though. and i don't think you can get there unless you aim at it. i don't... i think we are going to get to that point. i think, you know, when you think about the world.... >> rose: there will be no more service stations? there may be biofuels but... >> well, i don't even know about... i'm just not sure. would just like to eliminate the need for us to have to use these things that cause all the war and all of the disturbances. >> rose: and addiction to oil and all of that. >> all of the suffering around the world is all about energy. even the climate is based in the

energy problem. the environmental problems and the social... theeee cultural... look what we've done. it's a 7,000 or 8,000-year-old city we were bombing and the museum got looted. all this old stuff that's been there for centuries. now people don't know where it is, you know? i mean, look what we... look what happened. it's just... it bothers me. i look at it and i go "there's got to be... i've got to step back." why is this happening? and i'm just a bump on a log. i'm just a pinhead. i'm just a needle in a haystack. if i can try to do this, maybe other people can try to do it you know? i don't think that... i don't think that... i mean, i don't have anywhere near the knowledge of, like, g.m. or ford or anybody like that. but i'm not a big company. but i have the internet. and now in this age, this is the 21st century and we're smart.

we've got to start.... >> rose: well, we're also connect sod that you can tap into the smartness of a lot of other people. >> yeah, we can start doing things now. we can start working with people that we've never met. we can find... we can go to youtube, we can look at people's science experience... experiments. we can go to overunity, we can look for physics things that are out that that demonstrate that there is a possibility of no roadside refueling. >> rose: all right. you any that the idea of energy and having to rethink it and having to find new ways has reached critical mass. >> do i think america is ready to make ha change and that sacrifice that it has to make? >> rose: right. critical mass. >> i think it's... we're approaching it. we're approaching it. but i do think that we're... that we're smart enough as well as there's enough of us who are... have enough of a conscience to do what needs to be done to start conserving. but it's capitalist... it's

capital, it's driven by a capitalist system. >> rose: well, that's okay. capitalism has been good to neil. >> great. and that might be the savior was the fact that now it costs so much people are thinking about it. >> rose: so what goal do you have in music today? i mean, you've had this extraordinary life, crosby stills gnash and young. you've had this extraordinary success on your own. i don't know how you choose what for what. but do you still have goals in music or do you just simply... is what you do and it comes to you? >> my goal is to respect the source, charlie, respect the source. be there for the source. >> rose: this is where we began this conversation. >> that's right. be there. be ready. that's my goal. that's my number-one task. that's what i do. >> rose: are you happiest when you're on stage? >> you know, many things make me happy. >> rose: i can tell. that's why i like you. you haven't been bored in a long

time, have you? >> i don't get bored, i don't like to get... i have too many things to do. my lovely wife tells me that she's worried about me because i do so much. >> rose: how long have you been married? >>30 years. it will be 30 years on august 2. we're going for our 30th anniversary. and what a great woman. i... look what i've done in 30 years of marriage. how creative have i been? i have been able to do all kinds of different things? take on different characters? take on different personalities? do whacky things, get totally out of my mind, drinking tequila to get into one thing, doing this, doing that, doing all of these things for all these characters that i had to live my way through and she was sticking with me all the way through that. >> rose: so she deserves a medal for sticking with you? >> she deserves a medal for being free and open enough to allow me to be myself. do you know how many people when they get married they change? they adjust. i have i have not had to make an adjustment. she's allowed me to be free and it taught me the beauty of the

family. and so i'm very fortunate. behind everyone who has... is doing something, there's a... somebody like that, a partner. >> rose: what did the brain aneurysm teach you, tell you? what was a... >> it gave me more faith. >> rose: did it really? >> yeah. >> rose: faith in. >> i don't know. i don't know. >> rose: just faith? >> i have faith. i don't know what it is. i know there's a lot of stories. there's the bible, there's the koran, there's all these things. even's got one. everybody has a faith. and there's stories that have gone through the ages and i respect all of them. but i don't know where i fit in. i just have faith. >> rose: you believe in nature. >> i love nature. my church is my forest. i like to walk in the trees, look up, the trees are so old, they're so tall, they're so natural and they're so beautiful. and i just like to touch them, hear my footprints. i... that, to me, that's my

church. that's my cathedral. i don't have a robe. i don't have a book. i don't know my book. if i have a book, i haven't read it. somehow it's missing. so... but i have faith and i respect faith. and since then i've been very aware of that. so i don't know what it is, butz i believe in it. it's a journey. >> rose: mickey rourke is here. in the 1980s he was one of our most sought-after actors. she showed early promise in gripping and raw performances in films like "body heat" "diner ""rumblefish" and, of course, "9 and a half weeks." here's a look at mickey rourke over the years. >> even after the meltdown they're going to know it's ours. >> i don't care about that. that's all there is to it? >> no, no, that ain't all there

is to it. you've got to get in; you've got to get out, you've got to pick the right spot, the right time. you've got to try not to get famous while you're in the act. i never did a lot of... a lot of screwing around. >> yeah, of course. little. >> little? >> a little. >> you're a virgin, aren't you? >> technically. >> hey, you got a lot to learn. see, when you were two years old i was six, your mother decided to leave. she took me with her. when the old man found out, he went on a three day junk.

he told me it was the first time that... he told me it was the first time he ever got drunk. you >> you got no job to worry about. >> what'd you say? >> come on, huh? say that again. say it again. say it again. say... say what you just said again. about my suit. say... what do i don't need? tell me what i don't need. >> what do you need a tissue for charlie? you got no job to learn. >> that's rightht. fine. >> here's your button. >> come on, man! >> you work and you work and you work and you meet with people that you don't like, that you don't even know, that you don't even want to know. and they try to sell you things, you try to sell them things,

then you go home at night, listen to the wife nag. you turn up thi]yv

i get up to canada where it's shooting "get carter" and his... one of his assistants, i think it was a bodyguard or training partner of his pulled me aside and said "schri don't want you to know this, but so and so wouldn't pay you the money, sly took it out of his own pocket." and it was, like, oh, man. so, you know, during that period of time i would get a deluge of work here, two weeks work here. sly gave me, like, i think nine days and then sean gave me a day in "the pledge" which was a really great written scene. >> rose: so aronofsky calls up,

or an agent calls up and they say what? how does the "the wrestler happen?" >> well, before aronofsky... my agent said darren aronofsky would like to meet you. and i thought, wow, who's that? and then i watched a couple of his films and i thought he was interesting. and then i made it my point to call a few people and inquire about him and i got the same feedback that i've heard that reminded me of what i heard about francis coppola. he was very, very, very fright. very uncompromising, he is trying to be... people wanted him to come out to california and make big commercial formula movies, he resisted that. stayed in his little thing with brooklyn, his protozoa company where he makes films and movies that are different. and movies i think that are intelligent movies that take risks and chances with integrity

and that's what interests me. so there was a meeting and we met, we said... this is darren aronofsky and... i think before he hit the chair he went into "well, you ruined your career for the last 15 years, i'm trying to do a movie with you and i can't raise any money." >> rose: nobody wants to back a movie you're in. " >> "nobody wants to back a movie you're in." and i'm thinking, okay, i've heard this before. he said "if i do this movie with you, you're going to listen to everything i say, do everything i tell you and you're never going to disrespect me in front of the crew and i can't pay you. and i've said this in a lot of interviews but it went just like that. i liked the fact that he got right to the point. and i also saw you could... i saw in his eyes how smart he is. i realized i am not going to be able to blow smoke up this guy's ass. he is... he hates it when i say it, he's tough. and i think he hates it when i say it because he's afraid actors are going to be afraid of

that. but i want someone who's tough. i want someone who's going to... he knew how to push my buttons. i would do a take and he would say... i thought it was good. and he'd go give me another one, give me another one. i'd do it, thought it was good then he'd walk over and he says "bring it." and i did it, it would be better. i thought, okay, get... i can get out of here now. i want you to bring it, i just did. and he'd walk away and just before the take he'd come over and he'd go "really bring it, mickey, really bring it." and he knew how to push my buttons. he was like a football coach. he was like... or a boxing trainer who says just give me one more round. and because he fought for me to do the movie, he put his ass on the line, put his career on the line, put his... the financiers

didn't even want me to do the movie. actually, i got replaced early on. >> rose: you got replaced? >> i got replaced by a movie star and... because they could only raise a very little amount of money on me and they could have raised twenty something million on the other actor, who is is very fifi actor. and you was okay with it. everybody else was upset. my agent was concerned and this one and that one and and i thought, you know what? i've got to go down to miami, i've got to work out for seven, eight months to put on anywhere from 25 to 28 pounds of muscle and get... because these guys are big. i walked around like 195 and these guys are 230. >> rose: so you keep the job, though? and you go through this regimen? >> right. >> rose: have the skills changed? are they slow? is it like mull that you can simply back working and they all come back? you know what i mean? >> yes, i know what you mean really well and it's a very good question. because it wasn't a... you know,

it wasn't ever a question of ability, it was a question of that i had some issues... old issues that i hadn't come to terms with. and it was authority. it was authority figures. it was... it was... it was the fact that i couldn't be controlled or couldn't be talked down to if i thought it was... it was a lot of junk and garbage i had in my head that i didn't have the information aboutut to change and fix. and you can only do that if you go to someone who's a professional that can help you. >> rose: you've got to strip away all the things that are getting in between you and... >> i had to take my armor off, which i saw as my strength. and i was afraid to do that. because where i come from it was all about being a hard man, being a... pride and respect and all those things, k become a

weakness. >> rose: which is all interesting. but you have talked a lot about this: i mean, there is... you are remarkably open or remarkably... or you're pulling off a great performance. >> well, that's clever of you but i'm not that clever to pull off that kind of performance. i have no... i'm not that ambitious that i'm going to blow smoke up your ass, charlie. that's the way i am. but you also pay the price for that. but i also don't have to be that clear about it. i can be diplomatic about it now where before i didn't care to. but the rekar cushions are severe so i understand.... >> rose: but you seem to have... if you take it at face value, you have gained a remarkable insight about yourself. that may have been therapy.... >> hard work. >> rose: the fact is, you're

sitting at this table and you've already won a number of awards for best actor and you're nominated for an oscar. you have made the journey and the journey... you've made it work for you. hard work, shot at a lifetime. i know you've been asked this a thousand times before. is the fact that mickey had the light he had fueled this performance as randy the ram? because here was a guy coming back to the arena a guy who was not the same guy who he was 20 years ago. >> right. >> rose: and he wants it back. and he does it because it's what he knows and what he loves and what he is. this is also you. >> very much so. that's why when the role was taken away from me i was the only one who was okay with it. because i know why darren aronofsky wanted me to do this part. darren knew a lot about me.

like i said, he's got a very large bryn and he knew... he wanted me to revisit those very dark places and physically he knew that i could get there. and, me, i... i thought, wow, i'm going to have to really work hard and so... and for no money. i didn't know if i wanted to do that. but i think the part of my brain went, man, this guy can bring me back. >> rose: and what was it you wanted to come back to? being a movie star? you wanted respect? you wanted esteem? >> yes. >> rose: you wanted all the things that were about who you... a big old part of the problem? >> that i didn't have for 14 years. >> rose: and you used to have. so you have tasted it before and you knew what it was like? you knew what it was to have people say "you're very good at what you do"? >> yes. >> rose: and then you just pissed ate away for all the wrong reasons? because you weren't... >> i didn't have the tools to... yeah. i didn't have the tools. i'll give you a perfect example,

okay? maybe i'll put you in the position. let's say, okay, charlie rose once had a job on television, great reputation, i looked at your biography, stock? something happens, for whatever %% and you're in the 7-eleven buying a pack of cigarettes in the middle of the night and there's seven, eight people in line and you walk in and then it's 2:00 in the morning and somebody in the middle of the line goes "hey, aren't you... aren't you u... didn't you used to be in." >> and you're going "christ, i want to get my singh cigarettes and get out of here." >> rose: did that happen to you? >> all the time. >> rose: did it really. >> it crushed me. >> rose: in eleven or 7-eleven is a metaphor?db >> no, that i recall one time the 7-eleven and that just... i remember walking for several blocks and it was just... it crushed me.

>> rose: so did all this crushing feed the desire to fight in a different way? >> yes, yes. >> rose: to come to grips with this is a place i do not want to be? >> yes, because i learned instead of fighting all the time like this i learned to fight in a different way. snul julian schnabel is here. he is a painter and a filmmaker. his newest work "the diving bell and the butterfly" has earned him best director awards at cannes and the golden globes. the film has been nominated for four academy awards: best editing, adapted screen pli, cinematography and the new yorker. t incomer wrote "it's a glorious unlocked experiences w the most creative use of the camera and the most daring, cruel, heart breaking emotional exploration that have appeared in recent

movies." welcome back. >> thank you, charlie. >> tell me what your image is of yourself. what is the self-image jewel january schnabel has? >> a fendly bear to some. >> rose: (laughs) >> a good friend to others. i think that there's a lot of people that i don't know that like me a lot and i think there's a lot of people that i don't know that seem to think that i... they're scared of me and that i might bite their head off for some reason. and so i think when you're a young person you want to be understood or you want people to know the way you are and i think as you get older and maybe it doesn't work out the way you planned it, it really doesn't matter. so we've known each other for a long time and you, actually, probably know more about that image than... or as much as anyone. so it's... can i... i can't

really complain about being misunderstood since i get to do the work that i'd like to do. >> rose: and who do you want to be? >> well, me personally i like to make things and i think whatever i really have to say is in the things that i make. and obviously i've been doing in the public for a listening time and i've changed somewhat since the beginning. you have different needs when you're a kid. i think as you get older... or in my case certainly you get used to being misunderstood, which is fine. but it seems to me that because of this film people understand me or think they understand me more or feel closer to me or less confused by my presence because they could see what i think about people many the movie. >> rose: when did youknow that you wanted to be an artist of any kind? you wanted to make things? >> since i was a baby. i mean, my brother and sister are much older.

my sister is eleven and a half years older. and my brother's eight and a half years older. and i was alone a lot. my parents... in those days. i mean, my... they were around 40 years older than me and so i was alone a lot. and i started to make things and so i had a pavlovian beginning. we said that before, my mom just encouraged me to do that. i went to the brooklyn museum. and i think a big moment for me was probably seeing aristotle contemplating the bust of homer at the brooklyn museum, when that rembrandt painting showed up and i saw it glowing, it had this light glowing. it probably was as an important moment for me as watching the red sea open up when i saw "the ten commandments." but both of those events were kind of, like, visual. >> rose: you like the freedom of an artist. you like the limitation... the absence of limitations of an artist.

>> i don't like the word "no." and, you know, if you declare something so, it can be. and so i don't see there's any... i don't think there's any reason to accept things the way they are. and even the limitations of death, which are subject of this film, you can transgress like john doe did by writing this book. i mean, he took this body that was not working for him but he had his brain left and he knew that his death was imminent and he escaped death by putting his life into art. he made this book. he created a job for himself. he worked everyday, got up at 5:00 in the morning, thought about what he was going to say and worked all day and was tired at the end of the day. and at the end of the day he

would travel around and go visit his girlfriends or go to egypt or do whatever the hell he wanted to do. and i think he lived a whole other life that year of writing. and without any distraction it is. i mean, first i saw the claustrophobia of the situation and i thought, gd, to be locked in your own body. then after hearing what he said when he said "i'm a new person, i'm not the same guy." i knew that he felt selected. and i had a totally different attitude towards the character. and in that i thought okay, here's the guy, he doesn't have to go shopping, he doesn't have to go to the post office, he doesn't have to do anything except think about what hints to write. for a writer, for an artist, he got to work every conscious moment and he managed to write the whole book in less than a year, really, if you think of the time he was in the coma and the time that it takes the print the book. he did in the about a year. >> rose: and what was the time between the printing of the book and his death? >> ten days. >> rose: tell me about the significance of that. >> i think when they say raison

d'etre, they're not kidding, reason to be. >> rose: he had no reason after that. he had done what he had completed. >> and what happens in the movie... one of my favorite moments in the movie is where he's having this attack and the sound goes out of the film and you hair a voice say "i have one more thought, we're going to be later if the theater then i sank into a coma" and you know he transferred his life to us. and she picks up the baton and he then is in the hospital and says "is it a book?" >>. >> rose: tell me story of the book because it has not opened wide yet and some people when we talk about this book and what comes out of this movie, we want to have a reference to it. >> okay, that's a good idea. there was a man who was 42 years old, he was in perfect health, he'd never been sick before. he goes to visit his family, he's separated from his wife and kids, they weren't married but the mother of his children.

and he has a massive stroke. and it happens the day that there's a strike in france. he's in the country side and he wakes up in a hospital on the coast north of calais and he's stuck inside of his body and he can only... well, he has two eyes but they have to sew one of his eyes up. so he can only blink his left eye. and he's... it's called "locked in syndrome." so he's locked in his body. and the nurses devise... his speech therapist devise a system by which the letters that are most frequent in the french alphabet come in that order and he blinks.... >> rose: yes, no, yes, no, yes, no. >> and so in this lock winded... or no wind, long winded way, this arduous way, he blink this

is book. and the book.... >> rose: gives purpose to his life lockededin? >> absolutely. and essentially what he says is "had i been blind or deaf would it that it take the harsh light of disaster for me to find the new nature." and in that he has 2020 retrospect vision. he describes his situation as being stuck inside a dying bell. that is one of these... kind of looks like a medieval torture chamber. you have a steel helmet that's bolted to your chest, weights on your feet ands that device for walking on the bottom of the ocean. so it was a pretty strong metaphor. i was down under the water, not in it, but matthew almer rick, who is the actor who did a great job, he was actually in that contraption and it is claustrophobic. >> rose: and on purpose you wanted to create the claustrophobia in the beginning. >> yes. >> rose: before you created the power of the mind. >> well, we have to take that trip.

i mean, a movie is just an accumulation of events. it's the same thing in a painting, too. if you've got one corner of the picture that's no good, the whole painting is no good. if you have one moment of your movie that's weak, the movie is no good. you can't have a movie that's 95% good. it's either all perfect or it's not. and so at the end, no matter how you're going to tell that story, one person might say, well, it's not linear. it's not true. it's an accumulation of events and at the end of an hour and fifty-three minutes, you walk out of there and it either worked or it didn't. >> rose: your dad died before he could see the movie. >> yes. >> rose: and how hard was that? >> that was... i didn't realize that it was going to be so difficult. since he was 92 i thought he'd live forever. i didn't know... i mean, he didn't talk to me until i was about 20. but the last 30 years of his life we were very, very close.

and anyway, i didn't know that it was going to... i was walking around, i was dizzy. i was literally... i felt like, you know, when you have one of these inner ear infections? i was... my pulseses were all..i went actually to an acupuncturist. her name is adel rising. brilliant lady. you have a problem, go to her. >> rose: any problem. >> yeah. any problem. i'll introduce you to her. >> rose: i've got a lot of problems so she'd be good for me. >> she'll put her hand on your pulse, she'll feel your pulse and she'll... she's a healer. she's just a healer. and she put me in balance in a way. i remember when i had... because i was having a show in frankfurt so i'm showing 5 paintings from the past... 55 paintings from the past 30 years there. may father died on saturday, i buried him on monday, i flew there on tuesday, got there on

wednesday and i have to tell you i didn't see any of the work that i made. i looked at it. i think i was busy... i had this text. and this tix... my dad never wrote a word in his life, but darren mccormack, who stayed with him, i said, would you just write down whatever my father says? and he did. and he handed me this text. >> rose: the only poem he ever wrote? >> the only poem he ever wrote. >> rose: here it is. the last time you talked i said i wanted to see it and you sent it to me so i brought it with me. "you're a gem of a man, i wonder where people like you are hatched, god sent you to me, you're an angel. do me a favor, give me a scratch. put me to sleep so i can be reborn. i'm going to miss you. you're my little guy. i wish my wife was alive, she would tell you what i good man i am. i'll give you the necklace for a drink. do me a favor, cover me, put me to sleep. how should i sleep? all of this money and what gd is it? something is missing, i'm dying. oh, i'm about 55, everything is

all right, i don't realize how sick i was. i didn't realize how sick i was. you know, sometimm i like to eat eggs. do me a favor, give me a scratch. i'm so glad i have a rich son who brought you to me. this place is bigger than you think. how are the kids? i wish you would take care of julian. i worry. do me a favor, take his blood pressure. i would like to give him $200 for his trip. do me a favor, give me a rub. i would like to live with andrea. steve is strong. would you do me a favor? put me to sleep for 20 minutes. nice cold bars, what's going on in my belly button. flying flies, green grass of why yopling. give me horse bubbles. make a little mixture so i can bend down and go to sleep. i don't know who's more stubborn you or me. i think i ought to give you a break. yeah, uh-huh i'd like to give your girl a big black bear. now that's a good iron. which way should i sleep. i want to look at you. i need that round thing from the army. what did the market close? how much do you take in? in a year plenty of stuff, i'm

talking about the big stuff. is that right? are we awake? i'm glad you regulate yourself. what am i thinking? put me in the middle. could you put me in the middle? no, scratch me in the middle. in the middle. in the middle. i like the way they change their slogans for the middle. i want to be in the middle. what's impressing me is that tub you've got in the middle. give me a workout, i should really is some alcohol. i like the stronger stuff. i got plenty in me. you have to do something for me. you've got to get me fatter. are we getting fresh air? you've got to shake me and take me. do me a favor, give me a scratch. rub me in the middle. milk sure is good. babies like milk. is the baby asleep? i want to ensure my money. i would like to drunk some blood. cover me. hug me. kiss me. love me. knock me in the head. give me some poison. i'd like to get a potion. some lotion. i'd like to have a woman that doesn't think. give me a drink. could you give me some courage, doc? what's my little sghi what where's my little guy?

everyone has cancer. i'd like to go to atlantic city. my kids do good business. how's business? i'm going to marry her and move to spain. stevie, stevie, where's debra? who's she going with? yeah, i wouou like to give her $10,000. all of my kids are dying. i don't think i'd like itment is my wiwi asleep? life is short? could you p p me to sleep for an hour? uh-huh. life is short. don't hear nothing, don't see nothing. i wantntto live with andrea. i'm losing her. i miss my wife. i want to live with you. i miss my mother. i see my wife. i want to clean my teeth. i want to take a bath. put me in the tub. yeah, uh-huh. that's it, warmer. i hope i can get something for my stomach, but the scrub bigot my body. love me. this is it. love me. i miss my mother. i miss my wife. i want you to take me, take me, love me, curl me, hold me. thanks, baby doll. jack schnabel, january 16, 2004.

>> thanks for reading that, charlie. that was beautiful. that was very cool. >> rose: so when you read this, the first time... >> when i read that i actually... i actually... when kathy sent me this script and i met with the people from universal and i met with stacey schneider, i just read my father's text to them. i said if i make a movie, it will feel like that poem. that's essentially what i'll do. and i think it... there's something in concert between this film and, you know, max von sydow played... 's 77 years old, but he played a guy that was 92 in the movie and he had

so much... such a deep well to bring feelings from. he'd never met matthew before. they met... they heard each other on the telephone. matthew heard him because he said his own lines.... >> rose: in the film they're father and son. >> when they met, that was the first time they met and you they nigh knew open other their whole lives, matthew the way he rubs his cheeks and squeezes his nose so i don't know, what can i say about that? >> rose: i tell you what you can say. i'm so glad he said it, i'm so glad he did it, i'm so glad i have it forever. >> it's an amazing thing to have. to have a father like that. my mom was great, too. it's funny, because i made a painting of them that actually is owned by the met, and my father's sitting on a tree trunk in the front. it's a big painting. and my mother said "how come i'm

always in the corner? " and it's funny, because bill lieberman is dead now. he hung it there when they started to show modern art at the met and he hung it, actually quite high. it was about, i don't know, almost 30 inches off the ground and i went and saw it ands i sd "you know, it's too high."gm] and he said "well, i cane either li it like that or take it down." so i said "take it down." captioning sponsored by rose communications captioned by media access group at wgbh access.wgbh.org