and a whole wealth of new york ackers,-- . >> rose: this is steven s that why? we have this-- spielberg made sure, wanted a bunch of new york actors for this or just so happened that these good actors had a new york base. >> i don't know how that came to pass but it was great to be there. >> rose: how was it as an experience? >> i have all these words that sound so high fall outin. >> rose: try one. >> it was the word sack rement or the word referential or the word special is used to blythely. >> rose: i hear you. what was it about it made it that way? >> well, it's lincoln. >> rose: yes. >> and it's steven spielberg and it's tony kushner. and then you start going down the line, tommy jones, salliefield. and it's daniel-day lewis. and the day-to-day was unlike any experience i had taken part in, and particularly i think from daniel's and i don't really want to speak too his process or-- but what-- and steven in many ways augmented this day-to-day process in which we were in 1864. that's where. >> rose: that's where daniel was. >> yes, and you could choose to be

you like to your performance after you left on a set, whereas in theatre at least it is you and the acker t is a live thing and we found-- especially with this play. >> rose: you like better having control and not giving it up to an editor. >> i think you feel more in control. sometimes, the results are impressive and even better than you can imagine. you thought you were having a bad day and suddenly they cut it together and say wow that looks really good. theatre, it's a live thing and i think, especially with this play, we found the audience is very, very vocal in their responses and how, you know, one night they go against the doctor, the next night they go against morris and are not letting him get away with anything. very, very different even from one matinee to an evening. >> that is what makes it unsafe and exciting. just because its unsafe doesn't mean it is not exciting. i started in theatre, i study theatre, went to julliard, i love it. but there are a lot of unknowns. when you do theatre. and the energy of what it is you are in, you don't know where it can go. if someone can y

but he's a character acker. and i think because he's so handsome, i think people often forget actually he's a character acker and a wonderful cac argumenter so if made sense when jay joe said i want to you play it. >> rose: this is where you tell your husband of the affair with count bronski, here it is. >> i have to tell you. >> yes. >> i have to tell you, you behaved improperly today. >> how is that? >> by making plain your feeling when one of the riders fell. your conduct was improper it must not occur again. i have said it before. you will say my concern is unnecessary and meticulous. are you my wife. i am wrong to think that? perhaps i was mistaken. >> no. you were not mistaken. i love him. i am his mistress. >> rose: we were talking about the language here. it's nice to have words written for you by -- >> it wonderful. and he a very wonderful and interesting man. yeah, we were really lucky because we did sort of about three weeks of rehearsal before we started so we had tom an awful lot throughout that and

company and have 800 million leftover to party or 1.7 billion i could buy zinga and have a virtual acker all habags. i think it would be a whole planet. >> i want louis vuitton. >> i would lead have a catalog of rush and steve miller band and nobody could