>> rose: welcome to the program. tonight the story of secretariat, the great racehorse, it's a new movie with die anne lane and john malkovich. >> there's the legend of secretariat which is-- how you cannot know it, i mean, to be on this earth at the same time as he was, he is a legend. and i grew up with his name. but i didn't know, i mean, what he accomplished. and i only saw the effect he had on the adults around me when i was a child. >> you know, as far as what credit someone should or shouldn't get for secretariat, i will never forget when we were shooting out on what was meant to be the family stables and farm

ranch, eddie was there, the groom. and he was telling me one day that he used to take him out, you know, and gallop in the mornings and talked about it for a long time. and i said so what-- i mean what did that feel like under you. and he said that felt like you were just on a big, big motorcycle. and all you had to do was go like that. >> rose: and another movie called "it's kind of a funny story" starring among others zack galifianakis. >> i don't know how i got on the front of "gq" magazine besides my looks. but to go from performing in the back of a hamburger restaurant to being on the front of "gq" magazine takes alot of lying to yourself, that you can make it. and you know, hard work. >> rose: also this evening a preview of a segment we will show new its entirety next week, it's a movie called wood rust t is directeded by julia bacha.

it is the story of a palestinian village and nonviolence, which brings support both from palestinians and israelis. secretary tar-- "secretariat", it's kind of a funny story and "budrus", three new movies, next. funding for charlie rose was provided by the following: maybe you want school kids to have more exposure to the arts. maybe you want to provide meals for the needy. or maybe you want to help when the unexpected happens. whatever you want to do, members project from american express can help you take the first step. vote, volunteer, or donate for the causes you believe in at membersproject.com. take charge of making a difference.

captioning sponsored by rose communications from our studios in new york city, this is charlie rose. >> rose: in 1973 a chestnut stallion named secretariat became the first triple-crown winner in 25 years. the horse galloped to victory with guidance by his unlikely owner housewife and mother penney chenery. tweetie and the veteran trainer. diane lane and john malkovich inhabit those roles in a new film. here is a look at the film's

trailer. >> the frenzied excitement, he eats up the ground. he paused fiercely, rejoicing in his strength. he charges into the fray, a fray of nothing. when the trumpet sounds,. >> our father's farm has been losing money for years. a horse breeding operation. i need a certain touch. >> you're a housewife. >> i feel like i could make somethingwork. >> miss. >> this is a gentlemen's club, miss. >> i need a good trainer just to get things stabilized. >> you need elucien lauryn. he dresses like superfly. he's trying to retire. >> i'm tired of baby-sitting half ton animals who are stubborn as their owners are. any other questions? >> how much did you spend on that hat? >> how would you like to see a horse being born. >> have you ever seen that.

>> what. >> a colt stand up that fast. >> well, mr. lauryn, what do you think? >> i think he eats too much. he lays against the back of that starting gate like he's in the caribbean. >> secretariat is not afraid. and neither am i. >> horse racing is an unforgiving for housewives. >> it's like every other multimillion dollar gamble we housewives make every day. >> all right then, let's show them what are you made of. >> we're out of time. we need $6 million. >> we just lost a race that we could not afford to lose. >> you're guaranteeing that this horse is going to win the triple crown. >> three races, three states in just five weeks. that's-- hasn't been done in 25 years. >> you're that stubborn. >> i'm about right. >> she scares me. >> good.

>> hey, there's mom. >> now that you've gotten our attention, every owner, every trainer, every jocky out there going to be trying to bring us down. >> this is about life being ahead of you. and you run at it. >> will you about to see something that you ain't never seen before! >> rose: joining me the film's two stars, die anne lane and john malkovich, i'm pleased to have them both back at this table. welcome. glad to see you. now did both of you know the story of secretariat. >> there's the legend of secretariat which is you know -- how can you not know it, i mean, to be on this earth at the same time as he was, he is a legend. and i grew up with his name. but i didn't know. i mean-- what he accomplished. and i only saw the effect he had on the adults around me when i was a child. but john was a huge fan prior to this. >> rose: john by the way is a sports fan. >> yeah.

well, myself and my whole family when i was growing up, we were nuts for secretariat. i mean just crazy. and so sort of terrified he wasn't going win the triple crown. >> rose: does that mean that when the script came it was just like-- if it is half good i'll do it. >> that-- that would have hatched. but i already knew that die anne was very likely to play penney. and that was a big thing. and i had worked with randall wallace who i'm very, very fond of on his first feature film. but of course, i, anything about secretariat, i would be pretty tempted. >> rose: it had you from the word secretariat. >> yeah, pretty much. >> rose: so what was great about the horse. what did you learn about the horse from making the film that makes this such a powerful saga? >> spending time with the humans that knew him. >> rose: right. >> the affect that he had on

every one in terms of his personality and hi his-- self-awareness. >> rose: talk about-- talk about that, what affect did he have on people because of his personality. >> well, the metaphor of his larger-than-life heart is true in his expression of himself. i mean the joy that at the gave to the world in experiencing his own expression of joy there on the tractebel month is-- it deserved to be made into a film. and this film came close to being over the years. and i'm so grateful that it waited long enough for me to be able to play penny and bring her to the screen. but yeah, i just felt like let me stand next to your fire about it all, you foe. >> rose: how did she get the horse? how did it come to her? >> well, there's that famous scene which we did our best to live up to in terms of, you know, my god, the coin toss. there's the famous coin toss that ogden phips the world's

richest man in america at that time. and she lost the bet. >> rose: yeah. >> but she was smart enough to know that in fact, her loss was her gain. and erv else seemed to want a horse, the other. >> rose: the horse she wanted was going to come to her. >> it worked out that way. it worked out that way. and this was an annual event that had been negotiated by her father. he was too ill to show up for himself at that point. and the farm was being lost and slipping through her fingers like sand. you know, she was asked to-- she wasn't really asked. it was sort of like events conspired to force her to live up to saving this farm. and the legacy of her dad's brilliant horse breeding industry. and he always knew that he had a great-- great legend in his grasp. he knew it and he didn't live to see the full culmination of his wisdom and his efforts. and you know, my dad used to say it takes two generations to make a star and i think

that that was penny living up to her father's legacy. >> rose: your dad said it takes two generations. >> at least, to make a star. >> rose: a superstar. so who is the trainer. >> lucien lauryn was a french canadian gentleman who actually, although it's not particularly what we do in this story, was a pretty successful horse trainer. he had also been a jockey. he had also been suspended once as a jockey for using those little kind of electric shockers, electric buzzers on his horse. >> that was debated. >> yeah. it was debated. >> never proven but he couldn't disprove it and once are you besmirched like that. >> yeah, he got suspended. by all accounts a very nice man and a terrific trainer. and of course what our story doesn't tell is that a horse from their stable reba ridge won two legs of the triple crown the year before. >> rose: so reva ridge won

two. >> and failed to one won. >> i think he lost the preakness. >> rose: the middle. but so they -- >> so they had some degree of success working together and had a very good relationship. but you know, as far as what credit someone should or shouldn't get for secretariat, i'm never forget when we were shooting out on what was meant to be the chenery family stables and farm ranch, eddie was there the groom. and he was telling me one day that he used to take him out and you know, gallop him in the mornings. and talked about it for a long time. and then i said so what, i mean, what did that feel like under you. and he said that felt like you were just on a big, big motorcycle. and all you had to do was go like that. >> rose: that's great. >> it's fantastic. he had such a power and

speed. >> and self-possession. >> rose: self-possession. >> absolutely. >> self-possession which is a quality that we all hope for in our children. and penny, it is funny because she loved riffa ridge so much, her horse that won the kentucky derby the year before with lucien. but he was the underdog horse. and in some ways, one knows how to nurture that along a little easier. you feel a little more important to-- as a parent to your offspring as it were in her case with these horses. and this business. and she almost resented, she said, secretary taria's prowess, confidence, making it look easy. people didn't realize that he had this oxygen-making machine in his chest 22 pound heart which other horses have less than half that when they race. >> rose: his heart was twice. >> twice as large as any other horse that has ever still, i think, been autopsyed. >> sham also had a really

large heart but nowhere near that. well, that explained why, i mean, at least their theory was, you know, his father, his sire was bold ruler, secretariat who had a horse with terrific speed. but secretariat had that but then he could just keep going. and of course in the belmont he ran each quarter faster than the last. and that's -- >> that doesn't happen. >> really unheard of. >> they were afraid he might die. they were afraid he might burst his own heart. >> rose: was all this apparent as a one-year old. >> that is a penny answer. i wish which knew. i mean -- >> i think they had hopes for him because of his-- his sort of breeding history, his parentage and everything. >> rose: but did he win early. as a 2-year-old did he win. >> he was horse of a year as a 2-year-old. >> rose: so a 3-year-old which is when the championships, he won the derby then preakness and then won't dbs-- and what

makes this more than the story of a great horse. >> well, certainly the stakes and all, the meaning of what the word stakes means, harkening from the horse industries in all of the years of rairsing. the stakes were so high. i mean in many ways more than just financially. the integrity of the family, the opinion of everybody had an opinion about this. and penny was very much sort of isolated in her self-confidence and belief that it was worth it to take this risk. and that it was truly-- i don't know how to explain the word stakes in this. because it is emotional with her family it was a gender bias situation that she was shouldering. and without ever being taken hostage by the agenda of the feminists and not being a flag waiver of women's lib

she just threw her deeds, know words. she was never being defensive about being a woman in this industry. she just had the last say with her action. >> rose: did she feel some spiritual connection to this horse? did somehow -- >> no, she said that they had a mutual rcht. >> rose: that was it. >> uh-huh. >> rose: it wasn't like somehow this horse and i are bonded. >> this story could have been written by disney, they would have. the fact that it a true story made it even sweeter. >> rose: exactly. take a look at this. this is one scene you may have seen in the trailer but this is where penny is talking to lucien about what he thinks about the horse. here it is. >> well, mr. lauryn, what do you think? >> i think he's a 1100 pounds of baby fat. he eats too much, and the only reason he doesn't eat more is because he's too busy sleeping. he only does what he wants to do, exactly when he wants to do it.

he lays against the back of that starting gate like he's in a hammock in the caribbean. and when he finally does get out of the gate, it takes him forever to find his stride. any other questions? >> how much did you spend on that hat. >> rose: the relationship between the two of you in the film, ie, the two characters that you play, what was that? >> well, i think like any, first of all, die anne is a friend of mine, which, of course, helps. but the main thing that helps, i think, when you act with someone is you know they come, they are prepared, they're alive, and they want it to be good. and that, that means you can trust them at work. and diane is someone, at

least for me, she wants to make a good movie. of course all actors want to be good in a good movie. that's a given. but she-- she's someone who also has a sense of the whole thing. and a lot of people don't. so for me it was a delight. >> rose: and he comes in with a certain reputation as pretty good at his craft. >> you know, john offers us so much more than a mere mortal would in the role of actor on a film. i mean, you know, there was quite a bit of camaraderie between you and randall wallace. and their experience previously really shown in terms of benefitting the screenplay. it really, you brought so much to it, john. my heart goes out to you, because of we're just his benefactors for sure. >> rose: tell me about ll as you know is another duke a lum.

they're everywhere. >> rose: is that how you knew how well we had done in the final four of -- >> no, hi been a duke fan for years. doug colin as boy chris, doug was our next door that neighbor. >> randall, i met i think it was about '96, '97, something like that. he had written braveheart which had been a film called braveheart with mel gibson, that mel, i think directed, right? that had a lot of success. and that sort of helped him to push along his project to do a new version of the man in the iron mask which because he had never directed before, was pretty hard to get a lot of actors don't like committing to a first time director.

it can scare them quite considerably. and i guess i was the first one who said yes because i liked him very much. he came to france where i was then. we met over a couple day period. and of course that was a tough time because you know, it leonardo dicaprio, jeremy byrne, jeremy irons, gerard depar due, me, a lot of people who knew their way around the block. and the first-- quit and i didn't really think to a great extent his crew was very supportive of him. so he had a very, very steep hill to climb in doing that. and. >> it was a large, ambitious first film, too. >> rose: with that cast. >> yeah. and you know, i think it was a tough, a very steep learning curve. and you know, my theory about directors, unless they

are just monsterous sort of doesn't really matter what i think about it. you-- you are a figure in someone else's dream. i'll basically do whatever i can to either called upon or volunteered to try and help make it as good as it can be. and give them support. you know, it is a grueling job to direct a movie. >> i think it is more martyrs, really. >> rose: you think is for martyrs. >> i think it is a terrible job. >> i mean with all due respect, obviously. >> it's a terrible job. >> and it's long. the road is long. are you there from conception to delivery. one of the things that i adore about randall wallace, and why i think he was perfect for this-- this screenplay. and he did, actually, do quite a bit of rewriting. >> a lot of polishing up. >> and he has a gift for that and he's open to all our suggestions. but he has a natural eye for

the archetype within any story. you can read him a haiku and will find the honor and the courage and the might. he understands that. and yeah, he haslett all charm. >> very charming. >> so he met me with a dozen red roses. i said he cheated. what can i say. he had me at hello. >> rose: someone comes with a dozen red roses. >> i got the metaphor of winning the derby already. and it was easy. >> rose: you were easy after that. >> pretty much. >> we had a couple of dates but he -- >> but he also, you know, he came in to this film and i think knew definitely what he wanted. not in any kind of sort of childish, controlling way, which some directors can be. he really knew what he

wanted. he i think this was his third fillment. he was ready to roll. he loves the story. he is very passionate about it. he is very passionate about the characters. and he knew what he wanted. and i think he was great with us. he was great with the physical action. and terrible with the story. >> he is a real helmsman. >> rose: meaning what, somebody who is firm and full of the ship. >> a born leader. >> but in nurturing along the greatness of people around him from each department. >> rose: bringing more out of you than might not -- >> correct. >> rose: otherwise have come. >> we were unified in purpose which was-- tall order on the film. >> would you never hear randall kind of scream or shout or you know, he is a kind of southern boy who is, you know, very well mannered. and as we said, a great sense of humor. but he-- . >> rose: it goes with the region. >> he's a recouldn'ture. >> and he is a great

storyteller and he has a very, very infectious laugh, randall. and he's someone i really like to be around and spend time with. he is great. >> rose: just looking at your career, how many movies have you made. >> goodness, i don't know, it's probably 70, 80. >> rose: let's say 70. how many times has the director been as good as you wanted him or her to be? and perhaps better. 20% of the time. 50? >> no, probably-- well, there is directing -- >> i have a number floating into my head. >> because see there is director. but someone, charlie, may direct well enough but how are they at storytelling and screenplay structure and directing actors. because see, somebody can be

a terrible monster or completely clueless about the other things like say how to elicit performances, et cetera, et cetera. but what you are left with on the screen after editing, you would say yeah, it's well directed. but for me, i would say yeah, probably 15%. >> rose: that is what i thought would you say. would you say. >> my personal experience, or guess being john. >> rose: does 15 -- >> i would have guessed that he would say 10 because-- i always err on the side -- >> 15 could be high. >> rose: is that, you say that because he's so good. >> i say that because i personally think that john is extremely perceptive. and it's got to be tough. it's got to be tough when you know as much as you do. and seeing what is the great quote, the largest room in the world is a room for

improvement. and when are you working on a film, the infinite is possible. and when you go to see the film, everybody sort of shrinks a bit and now is all very finite and the decisions have been made and the music cue is there and they cut out this scene. and it's all for the better and that's all we want is what is best for the end result. but the consume err consumes, hopefully. >> rose: do you at this place in time in your life get the kind of opportunities that give you a maximum challenge? >> oh, i'm sated. i'm content. i'm to the biting the hand that feeds me in any way. you know, it's different being a woman. i still think like a man. my dad sort of raised a son disguised as a female but that's okay, you know. i think so. that's okay. >> rose: it's interesting to watch what's happened to josh. >> is it ever. oh t is my-- total delight. you know, i have this shall did --.

>> rose: josh brolin, her husband who sort of in terms of public appreciation, a late bloomer. >> well, that's true. and you know, it's very gratifying on so many levels when you really are with your soulmate and you just are so gratified by all good things coming to them. and they're learning curve and their blossoming and meeting it halfway. and i feel a sibling relationship with him, sometimes. what do they say in that old book from the '70s, i'm okay, you're okay. it's like every role. some days i'm his daughter, some days his mother, some days his sister, some days i'm his buddy. >> rose: and he needs all of them. >> and so do i. and i'm very grateful that he's up to the task. and i'm so proud for him. >> rose: i am too. >> thank you for-- . >> rose: you seem to say you don't want to direct. >> i love directing. i just, die anne kind of referred to earlier, partially in answer the question about randall. and when she mentioned film

directing is kind of a martyr's game. i really couldn't agree more because see if i want to direct i just go direct a play which i do all the time. but i don't want to spend eight years to do a little tiny film like the dancer upstairs which is one of the last times i was here with javier bar dem for that film which i directed. >> rose: which i loved, by the way. >> thank you. >> rose: not to flaert you. i just liked it, it was my kind of story. >> i liked that film. but eight years, no. i don't want to do that. >> rose: so what do you-- what kind of life dow want to live? >> oh, es he's so prolific. >> i'm always doing something. i like to pursue the things that interest me. maybe to excess in the last year, just really kind of too many things to do. but. >> rose: like what? too many films, too much designing clothes, too much

cooking, too much what? >> the opera. >> with. >> rose: the opera. >> the opera is sort of the killer. nobody, the rest i'm okay with. >> rose: the opera is a killer. >> yeah, because i did-- i did two this year already. and i start another one in december. and they'll travel basically between the two of them around the world again next year after having toured all over europe and in canada this year. because next year will be both of them in europe, both of them in american, both of them in south american, quite possibly in asia. and just all that travel, is nuts. and wearing. >> rose: it's because you love life so much and therefore -- >> well, that's also always part of the problem. you know, as the man said, if you love what you do, you will never work a day in your life.

and people go but how do you do that, how do you-- i mean how can you do it. do you work 18 hours a day. and it's like yeah, i mean, but what should i do? >> rose: exactly. you could tell my story. >> should i, i can't play basketball any more. but what else would i do? >> rose: exactly. >> i mean take a walk? i don't know. i can't do it. >> rose: i know exactly how you are. so what's the passion for designing clothes, like those you have on. >> i just always-- i don't know why i think from maybe my father also being a photographer, and just always loving to look at old, you know, photo books and old paintings and i just always love clothes. and fabrics. and i used to look through, stuff like that forever when

i was a kid. and it's probably just simply from that. i'm also a fabric collector because i like fabric equally. >> rose: so you search it out all the time. >> oh, yeah, we, twice a year you go to paris, right next to charles de gaulle airport, a place and that's where the massive, massive sort of worldwide fabric. >> rose: they come together to show their wares one time a year. >> premier vision. >> rose: i best most of the fabric you use comes from italy. >> 99.5%. >> rose: why is that? >> well, because they're superimaginative. they're very interested in fashion and in fabric and all that. >> rose: and there is something in the water there about design. >> absolutely. and they're talented. and imaginative.

and they care about the way-- . >> rose: . >> they're texture people, tactile. >> and they have an aesthetic and they care about the way things look in a geography. you know this is something a lot of people don't think about at all. they just as soon live in one house as the next house as the next one. they just as soon wear this sweatshirt as that shirt or this pair of blue jeans. >> rose: it's not you. >> not-- no, not in aesthetic things, no. i can't do that. >> rose: i like the way things ought to look and feel. >> me too, i can't do it. >> rose: congratulations t great to see both of you,. >> you few, thanks for having us. >> rose: a great story worthy of being told by ran dan wallace, john malkovich, die anne lane and others. >> zack galifianakis is here, best known for his scene stealing performance in "the hangover" also one of the

most innovative stand-up comediansworking today, on stage he combines improv, musk and one-liners to create what the "new york times" called the most unpredictable act in contemporary come deal. also the star of several upcoming movies including "it's kind of a funny story" here is the trailer for that. >> sometimes i wish i had an easy answer for why i'm depressed. >> welcome to 3 north. >> i. >> it is undergoing renovations. >> is there a place here for people more like me. >> get all kinds of patients mere, man. >> hey, hey, bobby. >> how about a tour for our new friend craig. >> what do you do here. >> same thing as you. >> what were you doing in the emergency room. >> er harx has the best coffee. >> i really don't think i belong here. >> five days, craig, minimum. >> craig, come sit with the men. >> hi a lot of women in my day, kid. >> yeah. >> you don't have to act so surprised. >> who was that. >> that is noel, one of the teens. you should ask her out. >> nice shirt. >> you can practice on me. stand up.

>> well, well. >> comment on my shoes. >> those shoes are awesome. are you sweet to say that. >> we're going to play a game. i ask you a question and you ask me a question. do you think i'm gross looking. >> no. you look awesome. >> are you a virgin. >> i think the two of you were plague the question game, that's what i think. >> well, i guess it is what you think then. >> i thought so. >> craig, doesn't know what to draw. >> how about beavers. >> we don't draw the kind of beavers you're talking about. >> oh, really. >> that's actually nice. >> you got some crazy stuff in that little mind of yours. >> sometimes it's good to get out of there. ♪ oh my god ♪. >> my daughter is better off without me. >> i think that she is going to want to have her dad around. >> what i would do to be you for just a day. >> i would just live.

♪ oh my god ♪. >> i'm pleased to have zack galifianakis on this program for the first time of which we share many things, including we both have property in north carolina. welcome. >> right, you have 500 acres, you said. i have seven. >> rose: you have 50. >> you were bragging already. >> rose: no, you have 50. >> i have 60. i have 60. 30 of it in marijuana. >> rose: i don't grow anything. >> i'm sure you don't. >> rose: on mine. >> you do it on state park? that's smart. >> rose: i have a minor six acres. >> right, right. are you out in the woods. >> in the woods. >> out, down yonder, whatever they call it a lot of mouth breathers. >> rose: . >> how long how long you have been in new york, you still have your north carolina accent. >> rose: forever. i came in 1961. >> don't you think you should shag your accent.

>> rose: does it bother you. >> no, i like t but the people you hang out with. the new york types, the europeans, you are still saying italy. >> rose: i do how do you say it. >> italy. >> rose: if i said italy rather than italy it would be better. >> yeah. >> rose: i'm just going to stick to my guns at this stage. >> good, don't change, don't change. so tell me about this new film. >> it's called "it's kind of a funny story" >> rose: we know that, i said that. >> right. wz it seems a little rougher than i would think on television. it's kind of a funny story. >> rose: the finest oak. >> what kind of oak is this. >> rose: i don't know, it's just fine oak. >> did the oakridge boys make this. thank you. that's why. >> rose: not only that they sang as they were making it. >> elvira. that was a terrible joke, i just said z the oakridge boys-- . >> rose: will it survive our sensors. >> the oakridge boys joke, i would imagine. but i don't think it will survive humor.

is the problem. >> rose: that is my point. >> it doesn't pass the humor test. >> rose: okay. before we talk about the movie, you used to do on vh1 what i do right here. >> i did. >> rose: it was cancelled. >> yeah, hi a-- . >> rose: what was that called. >> the zack show. >> i think was called the magic johnson show, no, it was called late world with zack. >> rose: right that was on for a while then cancelled because you had movies to make and a career. >> no, no, i had-- it wasn't, it was cancelled because i wasn't listening to the guests and i was terrible at it. and it got cancelled and then i thought well that was a nice try at a career, meaning comedy. and then i just kind of started doing open mikes again and had to put myself together again and then started oddicians for you know, busboy number two, or bell hop number four. >> rose: you have performed in almost every kind of venue or even places where you wouldn't be called a venue. >> right.

>> rose: standing on bar stools. >> right. >> rose: trying to turn down the tv on the bar so you could hear me on this great comedy i'm doing. >> really great mix when you try to get the guys to turn down the hockey play-offs so you can tell your stupid jokes. >> rose: shut up, i'm trying to make these people laugh. >> it is a desperate art form to try to get into. you perform anywhere you can. i mean old folks homes, churches, even a bus. so i was doing stand-up as much as i could wherever i could. >> rose: talk about that in a serious way. if you want to be good you have to go out and do it. >> you have to do it you have to get on stage. and you have to bomb and fail and try new things. you have to fight discouragement i think is the biggest hurdle. >> rose: but is there some point where, i mean you didn't face this but certain, can you say to most people will you make it? or dow say most people, you know, somehow their lucks and breaks an all of that

kind of stuff? >> it depends on what you consider making it. i mean making a living at it is, but to be like a big, you know-- . >> rose: like you. >> and still have-- to make and to be in some-- . >> rose: on the cover of gq, for god's sakes. >> laugh out loud funny, 134th comedy issue starring zack galifianakis. >> i don't know how i got on the front of "gq" magazine besides my looks. but to go from performing in the back of a hamburger restaurant to bong the front of "gq" magazine takes a lot of lying to yourself that you can make it. and you know, hard work. >> rose: did you never, ever, ever think, i can't do this? i'm out of here. i'm going to go back and go to law school. >> no. i never, i don't have any other skills, charlie. so i can't, i had to do that. i mean that was all that was

given to me. i mean maybe i would go, you know, i did think if i didn't make it as a stand-up i probably would go rob a train, you know there is no train robbers any more. so there is a-- i kind of fantasized about that. but no, honestly, stand-up was all that i knew how to do for a long time. >> rose: so you put yourself in a place where if i don't make t i'm hungry. >> well, that's also what, i mean, if you have a jobs alike a 9 to 5 job that you can fall back on, you might eventually just fall back on that job, you know, if you don't have any other options but one thing, you kind of go for the one thing. >> rose: why do you think you wanted to do this? >> my father when i was a kid, not too sound too corny but he used to emphasize to me and my brother and sister to combine labor and love. and i just always paid attention to that and i thought well, i can make people laugh, somehow naturally. and then i am going to try to figure out how to make

some bucks doing it. >> rose: you knew that early on. >> uh-huh. >> rose: in school. >> i knew it. >> rose: in the family. >> in my family's pretty, all very funny, funnier than me. my cousins were real funny, my brother, my sister. and i used to like perform the robot in front of my family and they would give me money. and then-- . >> rose: you said this is good. >> yeah, my dad would ask, do you have change for a quarter? >> dad that is a drachma. >> so that's kind of how it started. and then, you know, just a lot of laughing in the family. >> rose: what does the family say today about their boys act up on the big screen. >> can i borrow some money. >> you can change a hundred. >> yeah. they're all-- i think they're very positive about it. i mean it's different but nothing really is changed that much as far as the

family dynamic. >> so you are doing stand-up. we'll work up to this movie. you are doing stand-up here and there and then you have boston commons, was that it? >> it was a sitcom. i was a busboy at a strip joint, stringfellows on 21st street. and then at the four seasons, i think, restaurant, after that and then i got --. >> rose: you mean in the series. >> no, in real life. >> rose: in real life. >> not on the sitcoms. no, mr. rose, this is unfortunately the real life i'm talking about now. yeah, so i was a busboy and i was kind of a busboy later in life. and then i got a job on a sitcom out in california. and i drove out there and lived and that dried up and a lived in a van for a while. and then i rented a car from a mechanic. so let's say that you have turned in your, let's say, i

am assuming a bentley, to your mechanic. i convince the mechanic. >> rose: how come are you so smart. >> i convince the mechanic. >> rose: why didn't you say rolls. >> i didn't seem like a bentley guy, go, chevy lumina. >> rose: that's better. >> charlie rose, you have seen charlie in his new lumina. he keeps bragging about it. >> rose: it's a great car. >> and i convinced the mechanic to let me rent a car he was fixing. >> rose: to sleep in. >> to sleep in. and i did for a little bit. and then just started performing again out in california. >> rose: the car kept breaking down so you kept being able to sleep. >> it broke down and i remember, i don't know how i-- how i got a house but i got a house somehow, but i didn't have any money. oh, yeah. s landlord-- . >> rose: this brings us to "hangover" >> right to the hang over. no suffering in between whatsoever. you know, the streets were pavered with gold. >> rose: no, we suffered enough here. we suffered enough. >> okay,. >> rose: we are sleeping in a car and we can't make ends

meet and then we have a house. >> right. this is the first my parents will hear about this. i have never told them any of this. >> rose: yes, you have. you told them everything. >> i tried to guilt them. >> rose: all right so hangover. >> yes, sir. >> rose: you had, did you have any idea, did you guys know when you were making this that this is, made what, a half a billion dollars, a half a billion. >> i haven't seen those receipts yet but that's what they tell me. >> rose: they tell you the check is coming. we are doing well, the check is coming. when did they make this film? >> they made this film in, the year, i don't remember, a year and a half ago. >> rose: he has to wind its way through the international scene. >> yeah, right. >> rose: and it has to go into digital release. >> who knows. i haven't seen one dime yet. but which, when we were filming it, i had a feeling inside my gut that i would go to dinner with the other casts and say you know what, i think this is good. i had never been in anything good. and i had a different feeling inside of me.

and we all chatted and thought yeah, this is going to be a good movie. but to the extent of being, you know, such a big moneymaker, nobody knew. i mean it's kind of great but it's also kind of ruined my life. >> rose: why is that? >> i say that kind of tongue-in-cheek. well, people assume when you play an outlandish character in a movie that are you that outlandish character, some people assume that. >> rose: we will see that character in just a moment. >> and it's difficult to walk down in the airport and people, i mean would you have gone up to the scare crow in the "wizard of oz", the actor, oh, you're not really a scare crow, you know what i mean. >> i'm not really the guy from the-- i'm just a guy. i'm an actor. >> . i'm not an actor, just a guy who got lucky. >> rose: roll tape, here say clip from "the hangover" here it is. >> so you sure are you qualified to be taking care of that baby. >> what are you talking about, i found a baby before.

>> you found a baby before. >> yeah. >> where. >> coffee beans. >> wait, what? >> look, i don't think doug would want us to take the mercedes. >> relax. >> my dad is crazy about that car and he left doug in charge. >> allen, we got bigger problems here. doug could be in the hospital. he could be hurt, okay. >> there's your car, officer. >> all right, everybody act cool. don't say a word. >> let's just get in and go. come on. >> sir, you have a -- >> no. >> get you on the way back. >> thank you. >> oh my god. oh my god. you just nailed the baby. >> my glasses okay. >> your glasss are fine. >> yeah. >> rose: that character. >> yeah, they think i'm that guy in real life. >> rose: you let the baby get caught like that. >> yeah, exactly.

or as if i would be walking around with a baby or anything like that. >> rose: not. here is the other thing this made a lot of money but it also gave you tons of rolls, tons of offers to play in lots of movies, yes or no or maybe. >> yes, i mean, the way i think the hollywood system works is they see you in a successful thing and they just try to copy it a little bit. and i kind of wanted to-- . >> rose: we'll help dow another one of those. >> i didn't want to do that kind of thing necessarily because i didn't want that character is pretty specific to the hangover and i knew that there was going to be another sequel so you kind of save it for that franchise. and so i wanted to pompously i guess try to do something a little bit more grounded with, that is how i came across it's kind of a funny story. >> rose: how did you come across it. >> well, the directors asked me to meet with them. and we had some drinks, some belgian beer. i think i tricked them in

that i could do the part. you know. >> rose: how did you trick them. >> with drinks, charlie. it's a great-- people believe anything if they have a few drinks. >> oh, no i can act. i can do anything you want. so but no, we just discussed the script and it was a great script and they kind of asked me to do it. >> rose: and tell me the character. >> name is bobby. >> rose: this is kind ever a one flew over the cuckoo's nest. >> kind of t is. >> is a mental institution. bobby does what? >> bobby is a patient there who is suicidal. he's tried to kill himself self six times. and i went and did some research at a couple of mental facilities. >> rose: serious. >> yes. before i even heard about the movie, no-- no, i was in new mexico and they let me come and a couple places let me come and observe. and i sat and watched and

took some notes and that's how i kind of helped develop this character. >> rose: what did you see when you took notes? >> i saw, i put on a straight jacket, turns out i'm gay, no, terrible joke, terrible joke, sorry, charlie. i-- i-- i got to remember that one. the old press junket that will go gangbusters. >> rose: they'll like that. here he is. zack. >> yes, zack impresses, once again, nobody believes him. i went so, i observed what i observed was people that are in some of these people that are in these facilities are funny and also seem very capable of being on the outside. but something, something pretty big is keeping them from -- .

>> rose: having interviewed people and talked about it, it is that some of of it appears normal conduct. and then there are moments in which -- >> they can break. and i think that's pretty common, i think certainly i feel fragile sometimes. hopefully not where i will need assistance. but you know, the mind is a fragile, fragile thing so we kind of tried to bring that into the undercurrents of this film. >> i generally don't ask this question but -- >> i'm single. >> seems strange, charlie. >> you could have-- you could have at least gone and got a --. >> we talked about you and john tesh, didn't we. >> yes, that's right. >> rose: who went to the same university. you both went to north carolina state. >> that's right.

>> but the point is, is there some connection, you think, between in the end, or between unhappiness and comedy? >> well -- >> discomfort and comedy. >> discomfort for me, absolutely in comedy. i think awkwardness is funny, inappropriateness is funny, as far as that old stereotype of unhappiness in comics, are a lot of-- often thought to have very dark souls and dark corners that certainly is true. there is a reason for stereotypes. >> you think it's true. >> for some people. i think some people, though, are born, you know, some people have a math cat call mind. some people have a mind maybe that genetically is, for someeason, has the-- of an architect but some people are born funny and if you come from a family environment that nurtures that t can be kind of healthy it doesn't have

to be just an abusive father and then that's the reason you develop comedy. i come from a very nice family, very, very beautiful parents who are very supportive. so unfortunately, i don't have that excuse. i mean it would be nice. >> rose: so why did you become a comic. >> because there is too much love in my family. when your dad is connection you on the lips when he drops you off for high school, ew. >> i mean, like, he it is a break thing, you know, dad, stop. >> rose: it another greek thing, isn't it. >> another greek thing. >> rose: kissing again, yeah. >> yeah, but he, he is such an emotional man, it is so nice. >> rose: so you have a relationship here in this movie with the attendant. >> i have a relationship with the, i boy that that is having thoughts, suicidal thoughts who checks himself into the mental hospital. >> rose: what is the relationship. >> well,. >> rose: seriously t is a

friendship, shared sense of -- >> shared sense of, you know, bobby is-- something's wrong. i mean i have tried to commit suicide six times and he has thought about it heavily enough to check himself into a hospital so my character sees this in the young kid and tries to help out. even though he himself is, you know, of questionable stability rdz a perfect segue as we say for this clip. roll tape. >> how are you doing? >> you got a cigarette? >> no, sorry. >> what's wrong with you? >> i just don't smoke. >> no i mean why are you in an er. >> it's 5:00 on sunday

morning. >> well, i guess there's just been a lot going on in my mind lately. >> go ahead. >> okay, well, it's sort-of-difficult to explain. but there is this girl. >> yeah, got you. >> and this summer school application that i'm really nervous about. >> summer school. >> yeah, it's like this superprestigious kind of -- >> why would you want to be in school in the summer? you should be on connie island-- chicks. >> are you a doctor. >> it's kind of a funny story. congratulations. >> thank you,. >> great to you have here. >> thank you for having me. >> rose: my pleasure. >> nice to chat with another north carlin yan. >> i hope will you come back. >> i hope will you have me back. >> also this evening a preview of a segment we will

show you in its entirety next week. it's a movie called "budrus". >> i wanted to show that there is much more happening on the ground than we're getting. people watch the mainstream media and they often follow either negotiations like we're seeing today or violence. military incursions or suicide bombings. and there's very little coverage of actual civil society in what palestinia doing together. because what's happening in this village is that hundreds of israelis crossed into the green line and under the threat of losing their life. and for certainly under the threat of losing their credibility and families and jobs, many of them lost all of that. they decided to side with the struggle of this palestinian village and in that way forge the relationship that is still standing today .

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