i think jack lemmon was another. >> jack lemmon. yup. >> it was something to the effect-- that there had been a note left in a twa terminal-- >> that was the proposed scenario. turned out not to be the case, but-- >> and you were supposed to-- you were supposed to go there and read this to the nation or something. what-what-what's the story? >> well, i didn't mind that so much, but as we were-- the fbi fellows came and picked me up at the rehearsal down at the ahmanson. and, as we were racing up the free-- up to lax, why they handed me a bulletproofed vest. [ laughter ] and that made me a little nervous. [ laughter ] but i must say, um-- >> 'cause they didn't know that there'd be some conspiracy or something. >> yeah. they-they thought-- they said we have to point out to you that you, in fact, may be the target. now, of course, i really did hours while the fbi negotiators talked to the lady on the airplane and on the ground at kennedy. >> but at the same time, you put yourself in a-- in a certain amount of jeopardy. let's be honest.

[laughter] charlie: what was it jack lemmon said about elevators? kevin: that was his philosophy.t's about what we are talking about, workshops, all the things jack passed down to me. he said if you have been successful in the business, if you've had some terrific success, it is your obligation to's and a portion of your time sending the elevator back down. pull yourself together. people are talking. you could go to carson, clinton. i love to doing that. i have to work on new impressions. i've been doing them too often. i have to do new ones. i was just working on a charlie rose it will involve a lot of hands. hands. cups. computers. charlie: what does francis need? kevin: so much. [laughter] whiskey is what he needs right there. by the way, she directed this. charlie: she is in full flight. kevin: she's fantastic. you have known her a long time. i've known her a long time. the trust and the genuine enthusiasm we have and joy have coming to work. we literally giggle all day long. it's very hard to get a serious take. charlie: this is a clip discussing kennedy's secret illness. her

i think jack lemmon was another. >> jack lemmon. yup. >> it was something to the effect-- that there had been a note left in a twa terminal-- >> that was the proposed scenario. turned out not to be the case, but-- >> and you were supposed to-- you were supposed to go there and read this to the nation or something. what-what-what's the story? >> well, i didn't mind that so much, but as we were-- the fbi fellows came and picked me up at the rehearsal down at the ahmanson. and, as we were racing up the free-- up to lax, why they handed me a bulletproofed vest. [ laughter ] and that made me a little nervous. [ laughter ] but i must say, um-- >> 'cause they didn't know that there'd be some conspiracy or something. >> yeah. they-they thought-- they said we have to point out to you that now, of course, i really did nothing but sit there for six hours while the fbi negotiators talked to the lady on the airplane and on the ground at kennedy. >> but at the same time, you put yourself in a-- in a certain amount of jeopardy. let's be honest. >>

[laughter] charlie: what was it jack lemmon said about elevators? that was his philosophy.s about what we are talking about, workshops, all the things jack passed down to me. he said if you have been successful in the business, if you've had some terrific success, it is your obligation to's and a portion of your time sending the elevator back down. pull yourself together. people are talking. you could go to carson, clinton. i love to doing that. i have to work on new impressions. i've been doing them too often. i have to do new ones. a charlie working on rose it will involve a lot of hands. hands. cups. computers. charlie: i want to take a look at this scene. this is number three, boys and girls, claire is offering frank an interesting proposition. here it is. >> do you remember when my mother almost left a daddy because he funded your campaign? that is how much it she hated you. i did not care. something. i saw a future. our future. >> we had a future until he started destroying it. all right, claire. i'm listening now. what is that use of desperately needed to say? >> we'

(laughter) what was it jack lemmon said to you once about elevators, he said you've always got to sendhe elevator back down. >> that was his philosophy. >> rose: because it's about what we're talking about. >> it's about workshops, it's about all the things that jack passed down to me is he believed, and he didn't just say it about actors, he said, if you've been successful in the business you've wanted to be me terrific success, then it's your obligation to spend a good portion of your time sending the elevator back down and to pull yourself together, people are talking. >> rose: it's so good. you can shift from one to the other. you could go to carson, you could go to clinton, you could go to jack. >> i love doing them. i have to start working on new impressions. i have been doing them too often and now i have to start working on new ones. >> rose: we anticipate talking -- >> i i'm going to work on charlie rose, involving a lot of hands, cups, computers. (laughter) >> rose: i want to take a look at this. this is a scene from "claire," number three, boys and girls, in which claire is

jack lemmon? now mr. mueller, you gotta pull yourself together. i'm together. but you gotta decide what you're gonna do. mama wants to retire to california, let her. i send her money. in beverly hills she can live, in a penthouse. but mr. mueller, who'll take care of the books? i get along. she doesn't need me, i don't need her. but you said yourself you had no head for figures. don't you worry! when she finds out i don't need her, she'll come back. by kansas city already, she will be sorry. - but what if-- - in the mean time, i hire someone else. she is smart. you want to make some extra money, hazel? oh, well, i'd be glad to help you, but-- my friend. what did i tell you? don't worry. my friend hazel will do mama's job until she comes back. but don't forget, mr. mueller, i got a full-time job with the-- shh! don't mention his name! well, what i meant was, i can only give you a couple of hours a week. plenty! see, what did she do? i can't get along without mama? i'm the baker! whatever salary you want, it's all right with me. oh, i don't want any salary. she d

. >> one of the directors you worked with said you were a young jack lemmon. so great comedically and, dramatically, equally impressive. how hard is that transition? >> doesn't feel hard going in. there are people who would make the argument i wasn't funny in the comedy. i think it's a matter of the poster, right? no, it feels the same way coming out as, you know, it does doing anything. for whatever reason, even trying to kill bosses, trying to smuggle drugs across the border, trying to make that as believable as possible. no different here, believe it or >> were you thinking, i've done so much comedy, i'd like to try the dramatic role and flex those muscles? >> not consciously, no. it shows up when it can shows up. the script, when i read it, i said, this is cool. this reminds me of something i would have -- my dad and i would have went to see when i was a kid. like gene hackman and the hoosiers or something. cool coach role, hold a hat and a stopwatch and support stephan james. it's like, i knew him when. >> larry was his coach at ohio state. famed track st

. >> one of the directors you worked with said you were a young jack lemmon. so great comedically and, impressive. how hard is that transition? >> doesn't feel hard going in. there are people who would make ii think it's a matter of the poster, right? no, it feels the same way coming out as, you know, it does doing anything. for whatever reason, even trying to kill bosses, trying to smuggle drugs across the border, trying to make that as believable as possible. no different here, believe it or not.