come to our program, tonight jerry bruckheimer, hollywood producerlatest project is called the sourcerer's apprentice. >> it is so fast, so quick. you develop somomething. they say yes, you can go to a script. you can make a pilot. you are he on the air. it's a hit or it's a miss. that happens within six, eight months. it's done. movies, seven years, eight years before you can get a script to where you like it, get a director, get the studio,. >> rose: we continue with "the kids are all right" a movie about family directed by lisa cholodenko starring annette bening, julianne moore and mark ruffalo. >> in the times where i thought let's put this down, we're not getting any where. i thought what else am i going to write this is what i care about. so i would get back on the horse. that said, you know, i had

made these other films. people were always, whether they made money or not, there was some kind of critical support for the films. and a lot of people interested in what i was going to do. and then here was this script with these amazing people attached. >> people always ask this question about whether or not do you think that movies influence popular culture. and i always say they don't influence t they reflect it you can't make a movie and make a so-called true movie unless it exists somewhere. and really what lisa has done is reflect families all over the world. and you know, it's becoming an issue because these families are around andthey're living their lives and their children are loved and successful and growing up. >> i saw in a restaurant, i walked up, i said i love you what do. and i would really love to work with you. >> rose: was it high art. >> it was high art, i had seen "high art" and i saw an budding ar ture, i saw someone who had a voice and had a way of working with actors that was very easy and loving and relaxed.

and you could see the actors felt free in that environment. and so i thought i want to get on that train. >> rose: from "pirates of the caribbean" to "the kids are all right" next. >> funding for charlie rose was provided by the following: captioning sponsored by rose communications from our studios in new york city, this is charlie rose.

>> rose: jerry bruck heim certificate here. he is one of hollywood's most successful producers. he was behind a string of blockbusters including ""flashdance". beverly hills cop. top dance, and pearl harbor. sheer say look at his early work. >> i saw you, you wanted me to come over. i came over. i know what i have seen. >> how much would you charge me? >> as what, translator -- >> no, just -- >> now you've made a mistake. i don't do that. >> you don't, huh? i know what i see too. >> hey, maverick. >> yeah. >> hear about ice? >> what's that? >> you want another one? >> really? >> yeah. i feel the need, the need

for speed. >> i'm tell ug to get back. if you don't get back i'm going to blow your [bleep] brains out. >> police, move and i'll kill. >> don't move! way to go, rosewood. are you some kind of cop, you know that? >> you have been around a lot of corpss s that normal? >> yeah, that happens. >> i'm having kind of a hard time concentratingment can you do something about it. >> like what, kill him again. >> you put a pan on the moon. you're geniuss. are you the guys that

think-- this stuff up. i'm sure you got a team of men sitting around somewhere right now just thinking this up and somebody back them up. you are telling me you don't have a blackup plan. that these ain't boy scouts, is that what you are telling me. >> arewhere are they? >> that's my mother. >> take a good look at her. because once you get on that bus you ain't got no mama no more. you got your brothers on the team. and you got your dad. you know who your daddy is, don't you. >> rose: he is perhaps best phone these days for the hugely popular pirates of the caribbean series. the franchise has made $2.7 billion worldwide. in the words of one reviewer johnny depp performance as captain jack spar owe made pirates cool again. >> did i happen to mention he's in love? with a girl. due to be married. betrothed.

dividing him from her and her from him would only be half as cruel as actually allowing them to be joined in holy matrimony, aye? >> i keep the boy's 99 souls. >> but i wonder, sparrow, can you live with this? can you condemn an innocent man, a friend, to a lifetime of solitude in your name while you roam free? >> yep, i'm good with it. shall we seal it in blood. i mean ink? >> rose: jerry bruckheimer has also turned to television bringing a features to hit shows including csi crime scene investigation and its offshoots "csi: miami" and csi new york. his newest adventure, the sourcerer's apprentice, here is the trailer for the film. >> everything you thought

you knew about the world is about to change. a few weeks ago i was just a normal college kid. thank you. and then he showed up. >> hello, dave. you are going to be a force for good in a very important sourcerer. >> what? >> all over the world dark forces are gathering. >> you have been chosen to stop them. >> let's go train. i will give you the basics, weapons of choice, plasma ball. >> i got oneçççç.ççç >> andç again.ç[ççç >> i did)it.çççç >> andç again.ç[ç.ttnñç

gt. >> i'm a sourcerer.çç >> wellç that's neeç.ç >> this isç theçç-- grqbá men have always been called.ç this is your callingçç.çç >> that's my car. >> oops. >> this is crazy. >> but it is fun. every sourcerer needs a nice pair of pointy shoes. >> these are old man's shoes. excuse me? >> i love them.

>> a lot. >> mi pleased to have jerry bruckheimer back at this table. welcome. >> thank you for having me. >> here is my question for you. have you come to look in the future more towards film or towards television or something else? >> i love them both. i really do. i think-- television is so fast, it's so quick. you know, you develop something. they say yes, you can go to a script. you can make a pilot. you are on the air. it's a hit or it's a miss. that happens within six, eight months. it's done. movies, seven years, eight years before you can gent a script to where you like it. >> that is the hard part. you can't look for -- >> pretty much, if i don't like it-- it always better for me to have a director, somebody i really believe in because it helps get you the

star. you get a really top-notch director. >> you seem also to like to work with people take nick cage, tom cruise, johnnie depp. >> right. >> rose: what is it about that. >> they're great actors t is simple. they are worldwide icons but fantastic individuals. i consider them all friends, they are brilliant. you watch them, nick isçç tom alwaysç doesç slthingñiçt interesting and johnnyççç de, look atççç hisçççç filmoç is amazing what he hasç nished. >> how do you explain this connection between jackçççw3 sparrow and the movie-goingçjn audience. >> i think he isç so reverent t isçkoç so muchçñi fwn@q==wç what. he goes against the norm. he's the ultimate pirate.ç anú it'sçó somethingçç he lovs playing.ç i mean shink heçut8upb the character while he was raising his sonç ejdçç hisç daughter watchingç cartoons. >> in the south of france.çç >> it isç part keith richards,ç part pepeçóç lepew7ç, and parf other things he comesçç across. he is so inventive, when he

takes on a rollç the >> rose: he may be for hisç generation as good as it is. >> he is. >> rose: both box office and --ç >> yes, it's amazing.ç when you have anç artist of his sature that can go andçç make issuesç hugely successful movies. because when you look at his early career, he was doing almost art films. i mean iyç think in the first three hours of pirates theyç outgrossed a lot ofñi the movies that he made. when that movie came out. we were in some fantastic old restaurant in paris that he took us too as the grosses started coming in. we were both overwhelmed at how successful the picture had become. >> rose: is there inside of you some protect-- project that you want to make that has nothing to do necessarily with commercial success. >> we made a movie which became successful. >> rose: it was a very good movie. >> and we have another one that i hope we can get made. it's called horse soldiers based on a book that was a "new york times" best-seller and it is about the first american troops that went into afghanistan right after

9/11. >> rose: that is a great story. >> they want horses, ca and special ops guys and they had horses coming down. >> that is a project i hope i can get. >> rose: where is that. >> in development. we have a screenplay, we are still working on it so i imagine the next couple of months we will put it together. >> based on a book. >> based on a book. >> it is a fantastic book and we have a current play. >> rose: bus the book give you more than the beginning of the story and now your screenwriters can make it into whatever they want or -- >> it is a very long book so you have to condense it into two hours. we hired ted who is famous. >> rose: he's great. >> writer who does adaptations for movies and we're getting very close so once we get that tied up into something we love then we'll try to find a director and then convince somebody to spend money to make it. >> rose: is that hard for you with your track record. >> it's hard because it is a tough subject matter. if you look the movie is about about iraq and afghanistan. they haven't done very well. but this is an uplifting story. it is dramatic.

it's heroic. it's about these men that went out there and left their families and tried to make a difference and they did. >> rose: you have never wanted to spend half your time directing. >> right. >> rose: have you. >> no. >> rose: why not? >> i'm a little add, i don't have the patience to sit there with an entire crew and cast and sit there and get performances out of actors over and over and over again. 7, 8, 9, ten takes. i'm in the middle of trying to-- . >> rose: the deals? >> not the deals as trying to get the screenplays right, working our tv shows. working on the next day for our director. worrying about the next three weeks what is happening with this visual affects, right now we have a very trough schedule, pirates of the caribbean. i love entertaining people. my thrill is when we finish a film and we screen it for an audience and i can stand back there and there are people who have spent money to see our film and we're going to make them feel better for a couple of hours. we're going to take the weight of the world off their shoulders, their kids,

their wives, whatever is bad in their life, and we're going to just make them escape. get behind the fantasy we're telling it. that's the fun of it. the fun of it is watching people enjoy what you do. very few people, you can't do it in television because i can't see those people watching our shows and getting a smile on their face or tears in their eyes or laughter. laughter is the best thing. >> rose: csi, what's the trigger for the success of csi and all the offshoot. >> i tell you, my theoryç is give people an inside look into something they'll never know about. >> rose: exactly. >> and show them how it really is. and they will be fascinated by it.ç fascinated. part of my success is giving you inside looks into worlds you would never be a part of. top gun was one of those kind of films. >> rose: what is the sourcerer's apprentice and all those movies that nick makes. >> sourcerer a present sisç pure fun, pure fantasy, just about entertaining the summer audience which i love doing. >> rose: tell:md about aç about. audience what is that

isç 7 days a week. because the kids are out of school. they can go to movies all week long.4&h-it's not just a wd business. you get them during theç week. and that's the kind ofçç moviç it is. the same director andç i made national treasu@e, the two national treasures. d it's the same kind of entertainment. fun entertainment. >> rose: you always come back to nick forç those. >> yes. >> rose: because of all the things xóu said, relationship, he's a good actor, you trust him. he knows the drill. >> and he's always different. he's always fresh. there's always something else that comes outjt him. nick is just an amazing individual.çç he's-- childlike.ç he's an adult,ç he's every day man. he is inquisitive. es-- you foe, he's not out roundç after work. he goes home and reads and gets on the internet and finds things that fascinate him. he read up all about sourcery and he can give you a whole lecture on it if you had him here about, you know, various things. he knows all the elements.ç he is just a fascinating

character. >> rose: roll tapeñrçç. >> no way. >> i havebeenç searching a very long time, magically here you are.fv that ring on your finger means something, dave.ç it means are you going to be a very important sourcerer one day >> i have been searching a very long time, magically here you are.fv that ring on your finger means something, dave. it means are you going to be a very important sourcerer one day. >> rose: what is going to be the impact of the internet on hollywood sm. >> it's for us-- enormous. hopefully it isn't as hurtful as what happened to music because it takes too long right now to download a film but that's going to change because it's going to be really fast. and piracy is a problem. dvd sales are way down, they are down 20, 25%. so it's hurting us a lot. between that and pirate-- piracy. >> rose: what is going to happen to dvds. >> i think they will be gone,nk unfortunately, in six months. >> rose: in a area. >> that i can't predict but i think everything will be on your computer, will ll be on your computer, will you share it between your home computerç, your home you share it between your home

computer, your home television, your ipad, whatever your device yousi carry around. >> rose: does anything tempt you away from work? >> i love what i do. i mean i do two things. i mean i love playing hockey when i get my off time, youet know, take a couple days a week if i'm in town and play hockey.y and i lovemaking movies. of course, you know, family is another thing. you love being with your family but my daughter is grown, she's out so i don'the have to go to soccer games t or, you know, pta meetings. that's gone. >> rose: is your success based-- how much of it is simply tenacity. how much of it is focus? how much of it is looking at everything in detail versus some genius for being able to look around the corner at what america wants.ts >> i don't think anybody knows what america wants because they don't know what they want until they see it. and i think my success is partially really hard work. i mean it's just tenacity and hard work. and staying focused. staying on it you got to be on it all the time.al >> rose: so take me through a day for you.

>> i'm up usually aroundp 6:00.d i will work out for a coupleou of hours and then i'll start. i >> rose: phone calls. >> phone call, starts with phone calls. >> rose: and who's in your y day. >> directors, the studios, writers, my staff, you know, k your constantly staying on top of everything. getting information. passing information on.pa >> rose: but some look at you, jerry, and they say how does he juggle so many things. i mean it's enough for one person to handle the pirates of the caribbean series, that is enough for one man'sgh life. >> uh-huh. >> rose: how many billion dollars did i say 2.7. >> rose: sounds good. >> it's been good. >> rose: but how do you-- i want you to reach beyond whatever it is you are doing. how do you get away from i y your comfort zone, or dow care about that? >> well, i think every time i make a movie i'm away from my comfort zone. even though doesn't look like it. >> rose: sourcerer's a present sis away from your comfort sglorns, come on. >> of course, you'rese climbing another mountain.

>> rose: it is not away from your comfort zone. you know how to do that. >> i wish i h knew thousand do that. >> rose: black hawke down may an way from your comfort zone. >> i guess you could sayld that. my comfort zone is just entertainment.on so and that's the hardest thing to do. you know, we think we know what we're doing.oi we've made a lot of movies l and then you show a film to an audience and they laughe at things you had no idea they would laugh at. they don't like things that you like. and that's why we show it to them because they teach us what they like. because we don't always know. >> rose: suppose somebody think these have a greatpo script. do they have to go to an agent and get the agent to call your agent andou therefore bruckheimer looks at it. >> pretty much. >> rose: you can't get to bruckheimer if you are some y screenwriter out there. >> because everybody thinks it was their idea. and you have to be carefulve because their lawyers call. i saw him, i told him this, i told him my idea, he made top gun and that was my idea. >> rose: music too.id >> same thing. >> rose: prince of persia,nc

what was that. >> a video game that we turned into a movie.vi >> rose: tell me more. >> i know nothing about this.e: >> okay. >> rose: i know was a movie that got a lot of publicity. >> right. jordan meckner who created the video game came into our g office and said i have an idea how to turn this into a film and he had a great pitch. loved the pitch. and he wrote a draft 69af screenplay which was quite good. we brought in some top-notch hollywood screenwriters. >> rose: did you bite at first pitch. >> we bought the first pitch. >> rose: he came in and said boom. >> here's the we said we'ree in. >> rose: and he knows if are you in, you can finance it.ce >> well, not always. >> rose: know you but he knows you can find the money. >> we can find the money but it was a long process. it was a six or seven year process before we got the movie made. >> rose: why? >> because it took forever to get the screenplay right. >> rose: why does it take so long.hy i'm asking this withth curiosity not with are you nuts. why does it take seveny people on one story. >> because-- . >> rose: another screenwriter. >> because very few can get

it right. very few, maybe there are ten writers in hollywood that can do everything.er if you remember in the old days and i know you do, the old studio system, right, how many writer does you think worked on those projects. tons of them, do you know why.do >> rose: they all worked for the studio. >> right. one would sit downud and write the plots. the characters weren't great.rs give it to a character writer, they embellish the e characters then give to the comedy writers to add humor,rs then to a female writer to f embellish the female character and very fewar writers can do everything. write a great plot, great characters, great dialogue. it's very difficult to do. >> rose: and who in the end, what is does thees screenwriters guild say about who gets the credit in the end. >> god knows the way they t figure that out. the writers hate it. everybody hates it. they think they got cheated out of their credit but i think is the original writer is the one without gets the most weight. the first pen or the first-- . >> rose: is he or she o februaryed by the fact somebody else comes in and writes dialogue. >> of course they are. they think they can do ithi all. >> rose: how do you tell them, how do you explainn do

that to them the script is not good enough for me, e sorry. >> you say we want to take it further. we want to get further and we think you have done a terrific job but now it'sob time we have to get a little more input. >> rose: have you ever worked on a project in which there was only one screenwriter. >> yes. >> rose: what was that. >> pirates of the caribbean, all four of them, one screenwriter. well, that's not true. we brought in elliott rossio after we had a script on h pirates of the caribbean.ra and disney wanted to make it for a lot less money than that script. and it wasn't quite fantastic enough for me. so these two writers came in and said why don't we make turn the pirates into skeletons in the moonlight and have them return the treasure rather than steal the treasure. i said that is a movie iis would go see. they rewrote that script.re and they have written every single pirate since then with no other writers. >> rose: bingo. >> bingo is right.go they can do it all. >> rose: penelope cruz is in the new one.

>> beautiful, beautiful, very sweet, very nice. >> rose: she's wonderful. >> very sweet. >> rose: i mean i did a profile of her for "60 minutes" and we went over to w madrid where she grew up.he she's just-- she's quite -- >> right. >> rose: she is a workhorse too. >> she works hard. >> rose: from the get-go. >> very committed. you should see her doing her s sword fighting t is just wonderful to watch. >> rose: she did the dancing in nine. >> i know. rob marshall the same director who is directing w pirates. >> rose: why rob marshall. >> you look at chicago. >> rose: of course, but r then -- >> i mean he used to be a dancer, a choreographer. >> rose: i understand that. pirates of the caribbean about dancing. >> it is about movement and it's about humor and goodum storytelling. he is a good story material. he did a wonderful job onod chicago. de a great job on gei sha g and he did a terrific job on nine. i mean he's really-- . >> rose: but i don't think this is a condemnation of c him but nine and gei sha didn't do well. >> it doesn't matter, he is still a good director.st >> rose: doesn't matter to you. >> no.

>> rose: you can figure out the talent even though the commercial success didn't come. >> that's right.uc tony scott did the hunter before he did top gun. it wasn't exactly a success. adrian lion who did flashdance did a picture nobody saw before it. fox's, and you know, but they are talented filmmakers. >> rose: 3-d. >> yes. >> rose: is it coming. r >> it is here. >> rose: is it going to be. >> you got. >> rose: are you serious. >> yeah, it immerses pu in it.me there was just recently they had this e-3 convention where they show all the new products. i think it is in vegas. and they had a device that i think nintendo came out with that is handheld. and it is 3-d where you play video imgas. 3-d with no glasses. so that's coming. >> rose: what do you think made avatar so successful other than the dedication, the bruckheimer dedication by director.to >> the vision of the director. he is a genius. i mean he really is i mean he has been developing that thing since he was, i don'the

know, 30 years. and he just had a vision for this movie. and he put it on the screen.t again, a good storyteller. he's a great story tell ter. interesting characters. and in the end he created new technology that he didno himself. and it captivated audiences. >> rose: so write your ownwr epitaph. suppose that, what are you going to say what is going to be the first three lines.e >> he entertained a lot of people. >> rose: that's one. >> rose: he made and what comes next, second line. >> i think pirates of thenk caribbean. that has per meeted the culture, as much as csi. csi is i guess an international hit as piratesl wasment but pirates, johnny depp turned it the character into an icon. it is one of the most, a british magazine said this is the greatest character in cinema history. so who knows. k >> rose: so there is your -- >> let's hope there's more.e. let's hope there is something else we can create. >> rose: so what do you dream about?

>> you dream about the next one. you never know what is going to happen. i remember when i first made,mb i think it was flashdance. and somebody said you made a very successful picture-- . >> rose: did you and don make that together. a >> yes. and they said well this might be it.t. most people don't-- only have one or two hits in their career. and it reallypq depressed me. i said oh my god, my career is over after my first movie in '83. and you know, we kept building on it. both don and myself. and then without don. so you never know what is going to happen. but you know what, you justow have to focus on the work and work hard and it willar happen. he taught me a lot so i use though lessons. >> rose: about what. >> about developing stories, he was a great story tell ter. how you develop them. how you lace the characters, how you layer them t is allla kind of great stuff that i learned. he taught me about how youea get things done. i mean he was a guy who would get on the phone and make things happen. >> rose: how did he do that. >> an very fast. >> rose: how did he do that? being a larger-than-life character, by-- threats. >> everything. tenacity. >> rose: he would reach up. >> never give up.

he was a great salesman. >> rose: reach up to the shelf and get whatever everel he needed. >> he was a great salesman. >> rose: if i need to threaten them, flatter them, seduce them. >> whatever, he got it done. h >> rose: and you had to knownd to find out whether you hadt those skills, those skills., >> well, i learned we had a partner's disk. so i watched him during that process. because don't forget he was the president of the studio. he was the president ofas paramount. so he made 14, 15 pictures a year. develop a hundred projects. he had all this knowledge that i did not.ge which is making one movie at a time. and he had this vast array of people he would work with. he had the knowledge of writers. because he would work with a hundred different writers every year.ff he knew the frauds from the real once. he knew the really talented ones. and of course he knew great directors and he knew how to tell a story. that was his skill. so i sat there and went to don's school. >> rose: good luck and with the sourcerer's apprenticece which opens on july 14th.

the kids are all right waski one of the most talked about movies at the sundance filmth festival. it tells the story of nick and jules a married lesbian couple whose relationship is tested when the sperm donor from their two children enter their lives. lisa swartz baum of entertainment weekly says this warm, funny, sexy, smart movie erases the boundaries between b specialized gay content and uniforms family content with c sneaky authority. here's the trailer for the film. >> hey, bud. >> don't be back late. >> i know, i know. >> come give us a hug before you go.fo >> hug. >> that is what she is theret for. >> have you thought more about making that call. >> that could really hurt moms feelings. >> how could you not even be curious about it. >> each of my mom had a kid>> with your sperm.er >> like in both.h. >> uh-huh, like in gay. >> right on. i love lesbians. >> great. >> i've got it, he's their biological father, all that crap, like we're not enough

or something. >> i never thought they. would use my stuff. >> why not. i would use it. >> first of all, ew. >> you met him. and that's cool and now we's can move on. >> i want to see him again.to >> dow? >> you do? >> it's great to meet you. >> go easy on him. >> okay. same goes with the micromanaging. >> okay. >> i was a resident. i >> jules had an emergency. h >> my tongue was numb. >> and i told her to relax. >> and then my tongue started working again. >> oh my god. >> the plan was to limit his involvement. >> you're not going to-- bro. >> he's not a father.e' >> he's our sperm donor. ♪ our house 75 ♪ in the middle of our street ♪ ♪. >> i keep seeing my kid'sei expression in your face. >> really? reasons really. >> i feel like you're takingl over my family.

>> oh, wow, okay. >> what's that look you'res giving me. >> that's no look.t' that's just my face. >> driving home on ari motorcycle this is something i just never allow.ev >> mom, i'm 18 years old. >> i just felt so far awaylt from you lately. >> why did you donate sperm. >> it seemed like a lot moreed fun that donating blood. >> hey, i'm glad i did it. >> marriage is hard, two people year after year. sometimes you stop seeing the other person. >> this is to thehe unconventional family. >> joining me now are the films director and also the coscreenwriter lisa cholodenko and two of its stars julianne moore and mark ruffalo. i'm pleased to have all of them right here at this table. congratulations. >> thank you, charlie.bl >> rose: take us through the

journey from moment offr insurance operation to today when-- inspiration to today when crit i believes areri saying these things. >> i started writing the w film god n 2004, 5, on my own. my partner wendy and i hady just decided to go with a sperm donor. we wanted to have a kid, start a family. and that was a big decision for us. and i kind of got very deep into researching, you know what did it mean to go with a sperm donor. when i sat down to write a screenplay i realized that is all hi been thinking about for a long time, sperm donors and families. and so i invented this family. and shortly after that, i ran into an old friend stuart blumberg whose's a w screenwriter who revealed to me in one conversation that he had been a sperm donor in college. that's right. and i said well thisplf kismet, you know this is something that is going on in my family and you have he's this experience. and think we should try tod

write this scripting to. and i think we should try to make something that's veryet personal in a way, you know, more universal and mainstream. let's try to make a larger picture out of this. and miraculously, we did. >> rose: so when did you start thinking about her. >> you tell the story. >> rose: you get a call from her. >> no, what happened was. you know those women in film launchs they had every year in l.a.. >> rose: it was the interviewee or something. >> i was --or >> you were getting an award. >> i was get and award for something. and i was milling around the lobbynd i saw lisa and went over and introduced myself and asked her in a very-- way why i hadn't seen the script of her movie high art which was a movie hi seen. >> rose: an independent film that a lot of people liked. >> oh my gosh, i loved it. i thought i never saw that and lisa laughed and was very gracious and i said i would really like to work with her. >> i was balled over. l i am like what? i could have sent that script to you. >> i'm like yeah-- .

>> rose: you wanted it? >> so yeah, so we then kept in touch and said we wanted to work together. and met and yeah, and then probably about a year later, i guess, was it even or was it longer than that. >> god t was longer than that. t >> it pite have been longer than that. >> we had a tea, we saida let's work together. and then maybe three or four years later i called and i was like hey, finally i have a thing for you. f >> i have been sitting by the phone. >> right. >> rose: what took you so long.o >> uh-huh. >> so we were thinking about her all the while. i mean hi said to stuart, you know, very early on, i think we should definitely shape this to be sent to julianne, so that was a great anchor. >> rose: so she is on boards and now you have to get annette. >> which came much later.>> >> five years later, maybe four years. >> we were 14 when we started this project. >> that's right, that's right. >> so that was fourgh years

ago. >> rose: was it wanting to work with her or was it just thinking this is a wonderful script. >> i mean t was a wonderful>> script but it was alsoo lisament i probably would have done anything she said. i mean honestly it really was. i mean that was by-- thatt was the hook. and then the script followed. and the interesting thing for me was that it was, because i was attached for so long. because after that, lisa and stuart developed it and it started to kind of, you know t started to transform itra became much more-- over theh years. and in the middle of it too lisa had a baby and it slowed down the process. and then by the time we're kind of ready to do it, it had been five years. >> yeah. >> rose: and so then you needed paul. >> i needed paul. >> in this sense it was really wonderful having julianne on for as long as i did.r i mean i thought at a certain point she was going to say i'm over you and i don't have any confidencedo this will ever get made. but she didn't and she hung't in there. and when it finally looked

like i was at a place with a the script where i was confident and, you know, my kid was sort of on his way and walking and we were ready to do this in earnest,ne i came to new york and metca with her. and i said look, this is kind of where the script haser landed. it's now much more comedich and i need an actress that can pull this off.. but i need to you feel goodo about who i pick. and i'm really feeling annette bening. how do you feel about it. and julyie was like don't know her but i will write her an e-mail. >> i did, i e-mailed her. >> rose: hi, i am -- >> it was so great, dear annette bening. >> and so she helped me out with that. and then mark wasn't going to work that last summer is. he had committed to his family to be with them. and julie knew him. >> i knew him from anotherhi job from blindness and reached out to him with another e-mail. >> i texted his wife. >> rose: you said you wanted to make it more comedic. and why was that? >> you know, i think it wast

a lot of things. one was i thought it was already inherently there ine the material. and that was something that i felt like i had in the films that i made before but didn't know how to push far enough or was too kind of timid to push further. and now i was working with this guy stuart who was from a kind of more, you know, studio commercial background. so he could help me pop the comedy. so it was something i just personally wanted to do. i also felt like with this subject matter that it wouldtt just be much more of an easy ride to go into this world if it was, you know, funny. because there's some heavy stuff in there, you know. there's some political stuffe' in there. >> rose: what heavy stuff? >> julianne what is heavy about this. >> well, you know, life is heavy, you know? >> rose: no, come on. >> it is. >> rose: but what do you think is heavy. b what is it that you think somebody might say. >> i think for me, it is

interesting because ultimately it's a portrait of this family and of a long-term middle-aged marriage, you know. >> rose: between the two very attractive people,e julianne moore and an et bening. >> so we had been together for a really long time.y >> rose: who met each other in this movie. >> but they kind of hit a wall. they are at a point where their lives are transitioning. their oldest child is goingveg. to college and everybody is really, you know n a different kind of emotional state about it. and so the whole family is kind of, they're growing up. g they're changing, they're moving away the women are redefining their relationship to one another. and then, you know, in comes k the sperm donor and hijinks ensues. >> rose: how much of this we tell, as an issue here of what develops, newop relationships and all of that. >> yeah, i mean i think what's rich about the film, even if you know the plot is that i think all of these performances are kind of transcendent and i don't think you expect to get this kind of, like,

nuance and just raw emotional performance. >> rose: you said --or >> when you go in. >> rose: you said they are the inand yang of this film. meaning? >>. >> annette and julie, you mean the partnership. >> rose: yeah. >> yeah, that was also another thing when i was t thinking about annette bening. she's much more, youbo know, she is much more robust and kind of, you know, large in a persona kind of way. >> rose: right. >> much more, i think stage in a way. and julie is, you know-- . >> rose: and what was the-- of that. >> this feels likend it's an interesting balance. >> rose: opposite attracts or something. >> yeah, and just as a a couple there is always a little bit of that somewhere. and then i thought also just dramatically there would be a nice contrast and it really lent itself to thet narrative anyway, the conflict and the narrative. a >> so tell me who paul is and what happens. >> well, paul is -- -- paul is one of those classic american bachelors who lives

his life completely for his own pleasure, i think. and he gets, you know, aou call out of the blue fromue someone who says that she is the child, his-- .- >> rose: sperm. >> a sperm child i'm your daughter. and i have a brother. and we have two moms. >> rose: and we're going to meet you. >> we want to meet you. and i think at first-- . >> rose: . >> i think at first it'st also a little bit like yeah,e i made two-- yeah, my stuff is good. i made a couple kids too, you know. and you know, i think he, at first it comes as a vague curiosity but quickly off we go into the story. >> rose: in the end this isen about a marriage. it's about a marriage. m >> yeah. >> yeah, i think it's about a family and then a marriage at the centre of it. really that's the fulcrum. >> rose: and what is it you

are saying about lesbian relationships? >> you know i think for me the importance-- . >> rose: that a marriage. >> that is a marriage and that is what was great about working with stuart who is a straight guy. he's not married. and you know, we had a lot of checks and balances between us. and i think the objective and i think what's come, you know what comes through in the film is that this gay marriage is like any other marriage. i mean it's warts and all. and they got kids and they got their messes. >> rose: what's interesting about this too is the timing m of this thing.inmi are you now have thee argument being made by david boyes. >> are they still up there in the supreme court. >> rose: no, but they made the argument. >> so in other words, this issue is coming to a head. >> right, i know. >> rose: and the gay marriage statutes around the country, it's becoming, drawing more and more attention. so the timing of theg release of your movie. >> is interesting. >> rose: is interesting. and benefits, is assume. it adds to the conversation.

>> i think what's great about the film, what i thinkm we all, i don't speak for you guys, it's really not an overtly political film in any way. i think the politic is really subverted in it. >> rose: it is what though, how would you characterize, it is other than a film about relationships it is what?s >> i think it's a comedy drama that is kind of ad family movie and in a way it's like a profamily movie. p >> rose: it is that thing,is people. >> people always ask do youal think that movies influence popular culture and i always say they don't influence t they reflect it you can't make a movie and make ad so-called true movie unless it exists somewhere. and really what lisa has done is reflect families all over the world.ov and you know, it's becoming, an issue because these films are around and they arend visible and living their lives and their children are loved and successful and growing up.

>> and being adults in the world. >> rose: did you and annette ever sit down and say how are we going do this and make it authentic. >> it was pretty obvious. it was scripted so beautifully that there was very little. >> and what we have going for us too is that both of us have been married for a superlong time and we are both parents. so you know, this is a milieu we're familiar with. we are all living it. and the kids too, the teenagers are all living that kind of family life too. so it's very, very easy to walk into. >> rose: and then paul represents this man who does not take responsibility type. >> yeah, i think he's a gosh -- we always saw him as a guy who yes, he's hedonistic, he's attractive,s he has a lot of women floating around. but there is something ind. him and he might be conscious of it or not,t eventually he becomes conscious of it, that's kind of lonely and kind of empty. and then there's-- he's having an issue with intimacy in a way. and he realizes he's got to look at it.

and this family kind of opens up that issue for him. >> yeah, i think, you know, my wife and i know, or knew a famous hollywood bachelor and in the '70s, he still ' had the 20-year-old models running around. he had the modern art all around him, the house on the hill, the lime green, you know, '64 mercedes. and seemingly had it all. but on his deathbed he said, you know, i really, i really wish i had a family to shareil all this with. and i love that kind ofha twist on-- these guys are very appealing. they live life in a really unapologetic way. they live it by their own, on their own terms. and to see him sort of go from someone who only thinks about himself to someone who all of a sudden-- . >> rose: understands there is something else. u >> yeah, it's a nice journey to take for somebody. and i think it's, you know, we're programmed for itwe maybe a little bit. >> rose: and the

relationship develops because... . >> he's got one foot in the door. he's got-- i mean there's g two kids there. and and i think, you know, he's definitely, he's very attracted to it. and-- . >> rose: it happens, doesn'tos it. >> it is instant family. >> it is, and i was going to, say also, you know, part of what we thought, you know s this guy really does have some profound ambivalence about making commitments and intimacy. what better selection than a lesbian whose's married with two kids. >> exactly. >> and pretty much like -- m >> there you go. >> uh-huh. >> he dumps over all the sticky stuff that he always, the toothpaste caps, the makeup in the bathroom, hee didn't have to deal with any of that. immediately just add paul, i got a family in a box.

>> rose: there it is. >> so that is the connection right there. yeah, so i think it>> like multilayered, it's complex. some of it is grounded. >> rose: what was the challenge for you?t >> in the times where i thought oh let's put this down, we're to the getting'r any where i thought what else am i going to write. this is what i care about. so i would just get back on the horse. that said, you know, hi made these other films. people were always, you know, whether they made money in the box office or not, therex was always some kind of critical, you know, supportcr for the film and a lot ofr people interested in what i was going to do. and then heres with this script with these amazing people attached and it was a still really, really hard to pull money together. >> oh my god t was so hard. >> and people would in like oh, i don't know, movie't about lesbian family, hamm, no, downer, no money for that. >> rose: . >> you know, read it, read it. it was incredibly appealing on the page. and yet such a great packagere and it was just, it was pretty upsetting. >> people, like, you know, this fill some fresh. we haven't seen this family. we haven't seen the drama, the dilemma. d

and i think people felt if we-- we put it in the computer and the printout said we don't have any-- for that. >> rose: you have three likable people too.ou >> uh-huh. >> rose: you have three >> people here, you know, who audiences like. >> yeah. >> i mean in the end-- .in >> rose: as scripted they are likable people. >> yeah. >> rose: and people in transition. >> yeah. >> to me that is like a great thing to bank on.g i would want to put my moneynt on that. >> rose: so when you youshed the movie, did know you had it? >> yeah, i mean it was like, it was -- exciting to go to the cutting room and see these performances. i was like whoa, wow. >> rose: were you surprised by the success of this? you have made movies, all kinds of movies. >> i'm delighted. >> rose: i know you are delighted. but are you surprised? >> i am-- you know, it's funny because i think, i've been doing this for such a long time, i really try toe, divorce myself from the results. i meanlf obviously you can't entirely but you really try to. i really try to invest in the actual making of the

film, and the process and working with these people and the time that we did it. and after that, i have to say, you know what, you have to walk away. i have done movies that i have loved that have just come out and gone like-- and you think okay. >> rose: and do you know whyos they have -- >> they just don't catch.y sometime these are badly timed. sometimes people aren't interested in thats particular thing. sometimes, there have been movies that i have done i know are bad and don't do with. and that i don't care about.ad but when i have something i believe in, people don't go, to see, yeah, it's painful., so you have to kind of, you can't do anything about that,th you know. >> rose: did you, the act of going up to her, that first meeting saying boy, i loved high art and think about me, let's do something together, was that a product of you as good as you are asyo well-known as you are, didn't see enough stuff? >> no. its-- i don't feel that way at all. it's just my-- it's just my interest. you know, and mark is the same way. >> i did the same thing with her. >> i saw her in a

restaurant. i walked up and said hey, i really love, i love you what do.e, and i would really love tod work with you. >> rose: was it high art. >> yeah t was high art. hi seen high art. and i saw an auteur. i saw someone who had a voice and had a way of working with actors that was very easy and loving andy relaxed. and people, you could see the actors felt free in that environment. and so i was like i want to get on that train. >> yeah. >> rose: and quickly. so where were you in your w career? you obviously were going to take the summer off. >> i had just finished directing a movie. i was in post my sell. i was cutting that. this came along. i sort of was, had been away from my family and i said i really have to spend some time with my family. could you move the date. >> the dates were supertight. >> rose: meaning -- >> well, because oh my god t was so, i mean we all, we're

all married. we all have kids, all of us. >> rose: you have aou four-year-old from the aforementioned process. >> yeah. >> we do.>> >> so it was all about when can we schedule so that everybody can do it and initially. first we were set in l.a. and then lisa said i will do it in new york so then you can do it any time. because my kids are in school here. and i said if you do it in new york, i don't care wheni you, what time of year it is. and then annette had issues with her kids and her family and she was like i can't do the movie because i can't come to new york. i am like well listen, i will come to l.a. if you do it in this period of the summertime when my kids are out of school. but then mark is like you can move the dates. so everything is like, everything was like --th >> i need a couple weeks just to look like -- >> it was lunacy that kind of stuff. but it all -- >> it ended up my wife andif her were texting each other. i was depressed saying i missed that movie. i can't believe it.ha that is such a good one, i wish i -- >> and she was texting me and like hey, whatever

happened with the movie thatev you were doing that mark, you know. and i said he said he can't do it. and she was like why. he said he couldn't an way from you guys. he said that's crazy. i don't care. i don't care. and i was like -- >> take him, get him out of the house. >> i think was kismet because i knew, i was kind of broken hearted. i went on to other actor because these guys werewe there, we were going to go. and i said i just got to keep moving forward. and that other actor, who ior still adore, dropped out for the most insane reason. he had lost his thany. >> he had a family emergency. >> he had a family emergency. and couldn't abandon his wife without replacing the nanny. and the wasn't-- the timing it was like two minutes later i get a phone call, hey, you know what, mark iswh available. it was just weird. so i thought this is kind of beyond my puppetry, a little bit. >> rose: karma. >> a little bit, kismetic, so that was great. >> rose: and so when people go see this movie you want them to experience what?

>> i want them to be able to just like project themselves into it an i think it just happens organically anyway. first you are watching the movie and the credits and everything kind of falls away and suddenly you are like in that world where you can identify with kind of anybody even the kids in a way. >> rose: in other words, this is a movie that isn going to stay to us, we are all alike. we are all the like. we all have the same issues.e we all worry about the same thing. >> definitely. >> rose: we all have the same conflicts. >> without it, you know, and i think the comedy really helps that. because i think that kind ofth being disarmed that way, and laughing at things just really allows your defenses to come down and makes that absorption even easier e reasons with. >> george bernard shaw said you had to get the audience laughing long enough to shove the medicine down d their throat. >> rose: is there medicine>> here? other than the idea that we all alike. >> yeah, and i think that i even comes in the most kindos of subtle, kind of euphe

mystic way. i don't think that there is anything, julianne gives this amazingly beautiful performance toward the end of the film where she ise giving an apology to her family for her transgression. and she kind of sums up what it means to be in a marriage. and what her experience has been and why she got off track. and it's really, it's so real and like heartbreaking. h and amazing. and i think if there's anything that's kind of ad speech in the film it's that, but it is done in such an offhanded real way that itre doesn't, nobody has reacted to it that way. >> yeah, it's not-- it was so beautifully written. b and it very casually written. and it is also funny. >> it funny. >> that was the great thing. >> feeling insecure. >> because you can't get bet't it out but she really sort of sums up the sloppy mess s that marriage is, you know. and her design-- desire for it too, that she wants to be in it and be committed to it.

>> the movie is told from such a personal place and honest place that it transcends the deviceive nature of politics that would usually pulls people apart. and actually brings us together what is what great filmmaking, story telling can do, and should do without being conscious of that effort. and that is what she does beautifully with the script and execution of the film. f >> rose: take a look.k. >> hello, jules. h >> i'm nick. >> hi, nick. >> hope the traffic wasn't too bad. >> oh, no, i took my t motorcycle so i pretty much s just weaved through. >> oh, great. >> i brought you this. i don't know if you folkskn drink wine. >> oh, no, are you kidding. we love it wow, a sirah, what a treat. i'll get some glasses.

>> wow. beautiful house. >> yeah, thanks. >> have you been here a long time. >> oh, you know,e about ten years.ar god. has it been that long. i mean -- >> that's-- yeah, you know -- >> hey, jody, how are you. >> hey. >> are you okay? >> yeah, yeah, great. >> go easy on the wine, hon. >> okay, same goes with the micromanaging. >> okay. >> rose: it opens july 9th. >> yes. >> rose: how many years now since you first had the idea? >> itrs took about four and a half, five years to get shooting and here we are. >> rose: congratulations for feping the faith. >> thanks.ke >> rose: and dow, great to see you. d >> thanks, nice to see youic too. >> rose: mark, nice to see you. >> thank you.gé

>> funding for charlie rose was provided by the following: captioning sponsored by rose communications captioned by media access group at wgbh access.wgbh.org