it was the the austere way that i was also, to mix all these genres in trying, it was very -- very difficult. it was very easy to exaggerate woman she can release -- s can or not to tell the story -- >> charlie: welcome to the rarely show at in the beginning the way with broadcast. famiatwith mateo, with th loveor >> charlie: what was the tonight, penelope cruz and pedro challenge for you? >> for me was a challenging where she has ltl window ofness and pe. an character, and i think the almodovar. >> i was fascinated with him as hardest character that i have then there is t woman that an artist and with him as a shhas to become -- tan played with pedro because she's person because of what he that s has to pretend to be in represented in our country. her life, and that alsoincludes so different from me and her the first thing i remember was energy is in a completely being a very goodipulator different place, and she has a in the 1980's and i was watching and great li and a gat very, very, very tough life for movies i was not old enough to watch, but i was really a long time. tress l a then the fascinated by his way of seeing theracter tha emovie, inside yes. acting >> the world, and the time that i the movie. >> charlie: she's a bad actress saw "tie me up, tie me down" i so you have to play a bad actor. hoke tir psychologist because was 13 and i always tell this >> we don't think lena is a bad story, but it's true, that that was the day when i took a walk actress. on there, t oestin >> she's an actress that by myself after i watched the sometimes, when she comes to the movie and i decided to look for set, she has so many problems an agent and try to become an actress so that i could one day that is -- is easy for merto soinemtres ofes meet him and work with him. make a comedy so she needs a --

>> a huge responsibility, but it is easy for her to make a rihe sg, iis comedy, so she needs a lot of t th movies. seems you made a perfect choice takes to reach the good one, so to become an actress, because i it's funny, because then we have the cima. think she was born to do tha to shoot some takes where we see he d, reali ttt job. her -- that she has so much problem that she does it very was li alaraon o l i saw her in the first movie. badly, so she's not a bad he cinemcae im li i verunperfect r actress, but that her problems i saw a little piece there. erne cinmake it a i was very impressed by her way are so -- so big that when she of acting. ttle more perfect. -- i mean, it's not easy for her. throfebut wasiness i but then the result at the end it was incredible how, being so is good. >> charlie: take a look at this. young she had the inner another clip. >> charlyee passed this is where ernesto enlists a owcently -- or are abouto psbiat strength, and also something that is very rare. lip-reader to decode the video of a conversation between lena and mateo in which she says how isrstimee g is i dorecogn urgey ab too s.: thse wwant >> charlie: do. repulsed she is by her man, >> ne wants to glong, everything sounds authentic, ernesto. real. woody." i called her agent and tell him the mos. i love her in the movie and that ve. proce i hope that in the future, that t rebe 'srsonredie i could write something for her. and that happens eight years ca ched hat- eels a b t after. >> charlie: almodovar, and cruz for the hour.

next. ou kn kest mnstrknowar chanie: n >> charlie: funding for "charlie rose" has been provided by the following. soyhlie ,, the crew that is >> each day, a billion people working with me. then for them, it's much more won't find safe drinking water. around the world, we're helping important than for me, the communities to access clean water. awards, very simple, and they working to improve lives through conservation and education. are always -- as they say -- one drop at a time. >> charlie: stingy. >> additional funding for what's missing for you, if "charlie rose" was also provided anything? by these funders. >> and by bloomberg. a provider of multimedia news and information services worldwide. ♪ ♪ captioning sponsored by rose communications from our studios in new york city, this is charlie rose. >> charlie: penelope cruz and pedro almodovar are here. they are two people as different as they are alike. she is the glamorous oscar-winning actress from the suburbs of madrid, spain who

became an international star after achieving early success in her own country. he is the oscar-winning director from spain known for his passionate, vibrant movies where his women shine. early in their careers, they each improved and got their talent on their own but most agree something special occurred when they found each other. here is a look at some of their work, done separately and together.

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

♪ >> charlie: joining me now, penelope cruz and pedro almodor and an interpreter who is with us if we need her help. thank you for being with us. a pleasure to have you here. this is a review, and it says, "we are like lovers, pedro and penelope talk exclusively about their special relationship." before we talk about the

relationship, you were following him, almost, when you were young. >> almost stalking him. >> charlie: almost stalking. because? >> i was fascinated with him as an artist and with him as a person because of what he represented in our country. the first thing i remember was in the 1980's,nd i was watching movies i was not old enough to watch but i was really fascinated by his way of seeing the world, and i -- the time that i saw "tie me up, tie me down," i was 13 and i always tell the story but that is the day i took a walk by myself after i watched the movie and i decided to look for an agent and try to become an actress so that i could one day meet him and work with him. >> charlie: and then you saw her in -- >> in her debut.

but she made a perfect choice to become an actress, because i think she was born to do that job. i saw her in the first movie, "jamon, jamon" we saw a little piece there, and i was very impressed by her way of acting. i mean, it was incredible how -- i mean, being so young, how she have this kind of strength -- of inner strength, and also something that is very rare, that everything sounds authentic, very real, and in fact i call her agent, telling that i love her in the movie and that i hope that in the future, that i could write something for her. and that happens, eight years after. >> charlie: he called you at your home? >> yes. >> charlie: and you didn't believe it was him? >> no, because i was that was a thing that i dream about for so

long, all those years. >> charlie: what's the relationship? what's the essence of it? pedro says, "we are like lovers," but it is unique -- >> but we are not. >> charlie: but you're not, exactly, but what is it? is it muse? a word some people use. >> yes. inspire, she not only inspire, she gives me a lot of confidence because one of the things that -- in this case as a muse, is it make me a better director even than i am. >> charlie: she makes you a better direct? >> yeah. -- a better director? >> yeah. when someone has this kind of blind faith in you -- really, i think that she thinks that i'm much better than i am, but that gives me great confidence. i'm serious. because then i can ask her to do everything, and she's going to do it, because of this confidence. >> charlie: the confidence she has in you. >> yeah, the confidence that she has in me, yeah, yeah. for that -- thataith is very

important for me. and in that sense -- no, in many senses she is a muse for me -- i mean, usually, the relationship between director and actresses or actors -- i mean, there is no sex -- i don't think sex is good for this relationship. i think it's a very bad thing, in fact, actually -- >> charlie: bad between a director and an actor because -- >> i mean, at least that you talk about that in the movie. >> charlie: right. >> because everybody writes about the relationship so in the case of john cassavetes and gena rowland, this is the basis of their work, but i don't think find out a way to go to the set with someone that you make love the night before, being a

stranger -- and how you can start working because in any case, the director is always the boss, so the relations -- i don't think had where there is, like, equal -- >> charlie: she has said that she's more nervous becauseou want to please him so much? >> because people ask me now, we have been friends for so many years, since i was a kid, now i'm more relaxed when i'm around him but he's such a big presence, a big personality that -- and he takes his work very seriously, and i do too, so we have developed an actual way of protecting the work relationship, and that means our friendship even changes a little bit when we are on the set. the love and respect is there, and we really know each other like if he arrives in the morning, i look at him and i know if he slept, if he's in a good mood and i know -- >> charlie: the same way? >> the same about me.

we cannot really lie to each other, and that's great, but we have managed to keep both things very -- very balanced, and i feel as intimidated and as nervous as i felt the day -- the day i went to the set the first time. there is a work ethic in his set that is very strong, and i don't want to go there and feel relaxed and feel like pedro is my friend. i feelve mone hve amazrl: id hr tse ,t that i foac cie: keemter thant. true in draftinki of r, it wouldhaerforward.

i with --g,n' ait changeat i eim? o importanttimy relationship. you know, your friends and your family and the people that you love change your life cheein my a very strong way, and as a very strong influence since i was a teenager. >> charlie: if you are in trouble, is he the person you call? one of the people you call? >> i call him with big questions. >> charlie: big questions? >> or advice, yes. and he -- he sees -- i've gotten a lot of interesting advice from him.

>> charlie: have you ever turned down a movie that he wanted you to play in? >> no. >>harlie: no? >> that has not happened. >> charlie: that has want happened? unlikely? >> no. >> charlie: tell me about "broken embrace." >> yeah. in fe str parts. >> the most important part, because there is a lot of genre but the most important part would be noire. and i also tnk it's the saddest role i have written for penelope. >> charlie: why is it the saddest role? >> because you know, it's a woman that has all the

characteristics of the femme fatale, beautiful, intelligent, and -- >> charlie: in a relationship she doesn't like. >> yeah. femme fatale -- who it but i codn't. somes wh you write you e like medium of the story that is g to live. charlie: a movie win a movie, so to speak. >> yes, a movie within a movie. >> charlie: he shot you -- the opening scene was shot when you did not know you were being photographed. >> yeah. i did not know. the beginning of the movie showed me standing and we go into a position and it's right before -- what happens, right before we do the take, and it's a private moment of the actors, and he shot that, and it was such a huge surprise for me when i saw the movie for the first time, but it's a beautiful moment, because nobody was aware of being watched, and that's when special things happen.

>> charlie: like what? like thinking -- instinctively thinking? taking yourself somewhere? >> that would be the perfect state for an actor. that would be the total freedom. to be able to do the things you do when you don't know you're bewaheifcult thing. >> charlie: in other words -- because that makes it more authentic and more real and more on whatever action you'reus ngreus acting. >> charlie: yeah. >> that's what i love about it. because i'm a little bit of a control freak. >> charlie: yes. i know. >> and with this -- >> charlie: go ahead. >> with this -- with acting, there is -- there is no place for control. >> charlie: and how did you learnto let control go? >> well, when you experience that -- that feeling of freedom, even if it's a few seconds here and there, it's like a drug. you just want more of that. then you know things are right when that happens. >> charlie: did you reach that halfway in your career? or did you reach it early? >> i don't know if i reached it. it's more of a filing, not

speaking of a result, it's more of a feeling, or where your ego is not part of what you are doing, and it's just moments. moments through my career, i cdenowhat n la would say little moments here, and when i have experienced that try things ath getouhead tohrevo freedom, but it's not there all >> flygs, ♪ i t the time. i wish. >> charlie: how do you direct her? >> well, first of all, we rehearse a lot. >> charlie: you do? >> yes. >> charlie: still? >> because she's very demanding. also, i am very demanding. >> charlie: yes? >> ready, likfo m do whatever yan w time,nder su peonor ef and always givtime, likehr m free, ss con t's thr, the wioutr tohe characternd evround

thasheeel after fter th- l say thatthe character go ek. i us rehear so ts is very itantor >> for us, is a treasure to have that time to have directort t is als producerf hisov and wh is e mos expenve acto, tove pamenttimeto the nobody wl st sotnt hehis eveonry departnt is y,

>> i really fee that i have been learning throughout these years and now i know exactly what movies i want to make. and it's really starting now that my career is beginning. >> charlie: he's 60 and he thinks his career is just beginning. isn't that great? >> yes, very much. >> no, no, no, absolutely, for that reason i tell you that i want to make more movies now because you know the process is very different from a director and an actor. he can play in four different -- five different movies every year, but this is not the situation for us. i mean, for us a movie is a part of your life. at least is one year and a half and more if you write the script, which is my case. and i want to get it quicker because -- >> charlie: you think he knows you better than any other director? knows you? understands you? els you? >> of course. of course. we are friends for so many years.

we have done four movies together. a long period of time. for sure. >> charlie: and that simply gives you confidence, as you said earlier. >> yes. to know that i can't hide anything from him and that he has this great detector for truth, you know -- for actors, and he demands that, and it's great to know that he's honest and he will tell you if he believes somethi or -- or if he doesn't. he's very honest, and that's y, bscar i would rather have that when i'm working. >> this is the -- she is -- the only compromise with her is that i have to teller the truth all the time, and this is -- this is quite -- scary. >> charlie: what kind of truth do you have to tell her? >> everything. everything. in every sense. >> charlie: this is public and private? this is >> no, no, no. >> charlie: not personal? >> no, no. >> charlie: but you love her

enough to want to help her if you think she's going down the wrong path. >> don't worry. shspeaks his mind. he doesn't have that problem. -- he speaks his mind. he doesn't have that problem. >> he demands that it be that way. >> charlie: you need that from someone that you love. >> in this business, you find much love, love, love, everytng and that i have an allergto that. and he's the opposite from that, so our relation has always been -- >> charlie: you don't need what we often call "yes men," you don't need people saying yes to you and not being truthful with you? >> no, especially if you are working. maybe with t best intentions but they want to tell you everything is right all the time, and then you have no motivation. you have no -- >> charlie: where else do you get that other than pedro? >> where else >> charlieyes. who else gis you that?

>> well, i am only surrounded by people that --hat want that too, you know, like alle th cards on the table and things the wathey are. >> charlie: if you look in the mior at yourself -- if you look at this, do you see yourself here? >> no. i look at that and i think what amazing photographers rk and marcos are and at a great light. that's wt i think when i look at that picture. >> charlie: wh don't you have? what don't you have? >> what don't i have? >> charlie: yes. >> so much. >> charlie: like what? >> there is so much in life that i want to do, and even -- even with my work, but even with my work, i don't feel i've gotten to a place where now -- because every time -- as an actor, i really love acting, and every time i start a movie, i feel new. i feel i haven't done it before. how was it? i don't remember. i think they're going to fire

me. i am addicted to that feeling and i am not joking. >> charlie: the fearhat "i'm not going to make it this time and they're going to fire me" or the critics won't like it? >> maybe it was right sometimes but i wouldn't remember how to do it anymore because it's a process that is so alive, and it feels new. if you are 95 and making a movie, you feel new, and i love that, and that feeling is very addicting. >> it's an adventure. >> charlie: it is an adventure. yeah. >> she probably -- more than many will throw herself out and take risks -- especially with you because she has confidence in you. >> yes. with me, absolutely. absolutely. because perhaps because also, we love each other, and also -- with this kind of blind faith, she absolutely make everything that i ask including the more risky things. >> charlie: she's right there

taking the risk. i want to see a clip from "vicky cristina barcelona." here it is. >> they're nothing. how do you know i take pictures? >> i found them in your luggage. >> you went through my luggage? >> of course i went through your luggage. first night i was in the house, i didn't trust you. i didn't believe you were who you said you were. i wanted to know who was really sharing the bed of my ex-husband. >> what? >> who knew what i would find there? who knewou could not hurt me? i had thoughts of killing you. >> charlie: tell me what you saw in that performance. >> i saw -- that was very risky to do. what she did, because -- i mean, i don't know woody allen. i don't know how -- >> charlie: you did not visit

her opponent set? >> but just listening what she said, it's a character sharing the stream -- i'm telling even my character, very, very outrageous and very under -- but really in this case she just appears like that on the set -- and then is -- that is really risky to do what she does in this movie. >> charlie: what else i saw in that movie, which is sort of the range that she goes through on that film, which is the whole range of emotional release. >> i think the range is more -- the range that penelope has as an actress that can be at the same time a mood, with cristina or imy movies -- three different movies that they are completely different character. i think she has a lot of range -- more than the character

istina, and the risk, with this kind of character doing like that, if you don't do it precisely, you can be grotesque or ridiculous. and you have to have a lot of talent to do that. >> charlie: do you feel more nervous if you're making a movie without her? >> if i have one character that is completely for her, then i will be sad and i will miss her, but i hope that will have time to wait for her. >> charlie: does she, as a director -- and if he does, what is it? understand women better -- >> better than anybody. >> charlie: does he really? >> yes. >> charlie: better than anybody? >> better than anybody i know, i think, because he is surrounded by a lot of special women, and i think he has always been such a great observer, and dedicated a lot of time to observe and -- and i think women can be very

fascinating, and i mean, i think he really, really knows us. >> charlie: why do you think that is, pedro? >> i don't know. as she said, i was surrounded by women when i was a child. i was dedicated by women. in that moment, mothers take us everywhere. so for me, it was like i was fastious to look at my mother with the neighbors talking -- because they never think that there is a child four years old listening, and i was listening, and taking notes of everything that i heard. >> charlie: amazing. you're in the salon watching -- >> absolutely. yeah. >> charlie: you're with other women taking notes. >> yeah, it's true, it's true. i thought about that when you were tellingly that. -- when you were telling that. women are not so difficult to understand but it's also very difficult to understand men -- human beings are very difficult to understand. >> charlie: that's true, that's true. >> but not especially women -- >> charlie: women or men more diicult to understand?

>> equally. >> charlie: yeah, actually, i agree. i think that's true. but your capacity to understand women has nothing to do with your own sexual orientation, does it? >> i don't think -- depends about -- >> charlie: where do you think it comes from? why is it that he more than anybody you know understands women? >> i think because of what he was explaining how he felt -- fascinated, and observed, and student -- a very natural way. >> charlie: what's next for you? >> my imminent future is that i will be traveling, promoting both movies, "broken embraces" and then "ne," so i cannot really shoot a movie at the same time i do that. that's going to go on for a few months, maybe, until february, something like that. so now i'm reading script it is and trying to -- to see what i -- reading scripts and trying to -- >> charlie: it doesn't sound like you are slowing down at

all. >> i haven't made a movie this year >> charlie: "nine" was shot last year? >> we finished in february, part of this year. >> charlie: how does rob mahall factor -- >> he's amazing. he is amazing. >> i think he's done an incredible movie and we are so lucky that the director was -- >> charlie: you danced and you sang. >> i sang. >> charlie: and sing. >> rob was really amazing with us. we were so nervous. he also gave us a lot of time of preparation and gave us great teachers and -- >> charlie: you spent some time with sophia loren. >> yes. >> charlie: one of the great women of the world. >> i love her. i saw her interview with you. great interview. i love tt woman. >> charlie: what did you talk about with her? >> everything. everything. we met and we were very relaxed with each other and we felt we could trust each other, and she has had an amazing life, and she has seen everything. >> charlie: and has some wisdom about it all. >> a lot of wisdom, and she's so

-- so kind and -- she was always worried about me not eating enough, which i don't understand because i gained nine kilos, for that movie, because i wanted my character to be fuller and i was eating more than ever and she still didn't think it was enough. we created that of -- >> charl: did she talk about enjoying life and making sure that you drink deeply of life? >> she only talks about that. she doesn't talk a lot about the work -- unless, of course, i was -- about mastroiani, but it was all about -- the important things. but the work has also been a very important thing in her life. >> charlie: very. >> she's met amazing people and she's done so many amazing things, and a very, very interesting woman. >> charlie: i think she's celebrating her 75th birthday. i think in the -- soon. 73? yeah. >> you know that i went to -- i

went to the shooting just to see them together. because i wanted to see sophia loren and penelope together because i knew that the relationship with them was very good and i don't used to do that but i have a picture with them. >> charlie: the three of you? >> i was like a fan, you know. yeah. i had someone take a picture. >> i want that picture, by the way. i don't have a copy. >> charlie: thank you for coming. >> it was fantastic to see them both. >> charlie: i can't wait. the movie is out when? soon? >> december. >> charlie: it extraordinary. there is an early buzz about the film because of -- everything. thank you, pedro. great to see you again. >> thank you so much. >> thank you so much. nice to see you. >> charlie: thank you as well. thank you for joining us. we'll see you next time. speaking of movies and film makers, next week, tim burton will be here to talk about his films and a new exhibition of his sketches at the museum of modern art.

>> when i got to make movies, it was the biggest surprise of my life. i had made super-8 films like every other kid and i liked movies but i never thought at a young age "i'm going to be a film maker or i'm going to be an artist," my passion was just i liked making things -- you know, that was the cool thing, whether it be a drawing or a movie or -- or a little writing, there was something just about making things that was the most important thing to me. >> charlie: is it different today than when you were a child? >> no -- i mean, i -- i still love it. it's a very private process for me. that's the strange thing about this show, it's all stuff that was really ner meant to be -- kind of like, "would you like to come see my dirty underwear and sock collection here?" you know it -- it's very exposing -- i feel quite exposed when i do a movie and this is even more of that feeling. >> charlie: wh do you draw?

do you doodle all the time? do you have a pad? >> i've got my little things -- -- i don't have anything with me. >> charlie: may i see that? >> sure. not much in there. >> charlie: i wanted to show -- you did this -- this is what? tell me what this is. >> that's me -- the opening of the show. >> charlie: that's you looking at the -- >> at my cry for help. >> charlie: this is psychological too. >> yeah. >> charlie: shall i continue here? >> no. there is nothing more. >> charlie: no, no. what's this? >> that's just a pig. i don't know. >> charlie: you don't know? >> i just did it. >> charlie: so it's as much about the doing of the drawing as it is about whatever comes out? >> a lot of the characters -- i remember like a long time ago i would just be sitting here just drawing and i drew -- i -- i had a whole sketch pad of this character, you know. and then it just -- >> charlie: i like these. this was just in your pocket.

>> i -- i don't have -- i don't use a blackberry. i don't use a computer. >> charlie: at all? >> i hate the phone. >> charlie: at all? >> no. >> charlie: you have somebody that walks around with you that has them all? >> yes. but drew this -- >> charlie: let me see it. go ahead. >> i draw him -- and then i would ha a whole thing of just like "what the hell is this?" and then i start to kind of go, "well, is there something about this chacter that means something to me?" so it comes much more subconscious than it does sort of like -- you know, i get worried about my intellectual mind because i find that -- when i'm thinking of, you know, a thought, i tend to play tricks to myself. >> charlie: i'm going to keep this and frame it. you will never see this again. >> isn't that a beaut? yeah. >> charlie: here is what i really like. look at this. tell me what this means. it says, "105, 11:35." >> there is an exclamation point. that's the scariest point.

i kept this, because i have -- i write down people's phone numbers but i don't writ down their names so i have this whole collection. >> charlie: exactly. >> of phone numbers. >> charlie: put in your computer and yowill trace -- if you've gothe number and you dial the number you can find out what it is, which is a godsend to me. a godsend. >> i hate the phone too. >> charlie: are you expressing anything here other than just contemporaneous impulses? >> like i said, to me, the world is so fast and such -- in the movie industry, you have to -- you're always reactin to things. >> charl: right. >> the time was spent just sort of spacing out or sleeping or dreaming or just looking. to me, that's the most vaable time there , because that's where you do -- for me, the real work. that's where things sort of -- mutated or -- y know, bubble up or ideas come to you or -- you kw, meanings of things -- again, that's w i hlws liked fairy tales. they're n real, they're no -- you know,hey're fsy but --

you know, as we know, all great fairy tales are based in reality -- you know, s that to me is very, very important, those moments of jt -- that sort of space. ♪ ♪ captioni sponsored by rose communications captioned by media access group at wgbh access.wgbh.org >> charlie: funding for "charlie rose" has been provided by the following.

>> 60% of all waste can be recycled. beverage cans and bottles are among the most recycled in the world. and we're also working toward more efficient beverage containers, one drop at a time. >> charlie: additional funding for "charlie rose" was also provided by these funders. >> and by bloomberg. a provider of multimedia news and information services worldwide. >> we are pbs.