it was robert redford. we rehearsed for a week and did it, and during the week of rehearsal, i thought, this is it. this is what i was supposed to do. >> rose: it has been said-- and you may have said this-- that there was, between the two of you-- she was the brilliant idea creator, and upper the person -- you were the person, even within-- that knew how to move it along, had the sense of what? >> i had the sense of the shape of it for the simple reason i wasn't as inventive as elaine. elaine was enormously invent and i have still is and she came up with these characters and she could have gone on. but i was through after a certain amount of time, and i needed to move on. and also, therefore, i learned improvising is a great thing because you learn what the audience wants. the audience says, okay, why are you telling me this story? and you learn that you have to provide certain answers. because it's funny, is one answer. because it's you, is another answer. but because of the pressure from the audience whi

sid was -- had a girlfriend at the time named shauna redford. a couple, two, three dates, he called me and said you won't believe this, i just found out i'm dating robert redford's daughter. >> sid and shauna had been dating for almost three years. and they were just a fun couple to be around, very much in love. >> we had a condo in boulder, colorado called the spanish towers. it was great, because sid was going to school there so he could live there all through his college days. >> sam moved in the summer of 1983. >> he needed a roommate so i filled in for the summer. got to hang out and get to know shauna a little bit better, his girlfriend. >> that summer, we still needed a good candidate for a third roommate. >> thayne smika was the new person in our lives, so we didn't know him very well. he was from akron, eastern colorado, graduated from csu. we knew he had some things going on for him. thayne took the main room downstairs and i had the bedroom upstairs. >> they felt that he was a good candidate for a roommate. they found after he did mov

redford was sort of the model. >> it's in the book. blue eyes, blonde hair.ber of tracking, debating squad. >> none of that is in you. >> none, none, none. he had tested radford and get -- and he tested a lot of people. he was scraping the bottom of the barrel right time he got to me. i do not think he had anything about me. i was in a play on broadway that got good reviews. i don't think he saw it. i think he was told about. he's in it to me to reed. i read the script and i got the book and read the book. i had a panic attack. i thought, why are they trying to ruin my career which is just beginning? i am getting character parts. here is a leading man. i turned down the audition. i was in new york off-broadway. the auditions were in los angeles. when he heard the unknown actor is turning down the audition, he called me up and talked me into doing it. >> what did he say? >> he said you don't want to do it because? i said, i am a character actor and i am not six feet or blonde. he asked, did you think it was funny? i said, i did. he said you do not want to do i

. >> they wanted redford. the studio wanted redford. so that was the archetype.nd dustin told me that he said to mike, i'm wrong for it, i'm wrong for the part. and of course, mike said no, you're not. he was right. he was absolutely right. >> i met mike nichols when he was doing "charlie wilson's war" at a dinner table in l.a. and you would never know. this was in the middle of a shoot. and it's wednesday night or something. normally, that's -- they're not available to go to dinner. and if a director can go to dinner at that time, they tend to be not present and frantic and worried about tomorrow morning at 7:00 a.m. and all that. and it was as if, you know, he had just kind of walked in off the beach and have a nice dinner and chat. no pressure on him at all. >> he said more wise things than almost anyone else. a few other people perhaps. i skid him what is the difference between theatre and film. he said film is an act of the unconscious. it is the unconscious speaking to all of the other unconsciouses. and that, i think, defines film as well as anything as i'

. >> they wanted redford. the studio wanted redford. so that was the archetype.g for it, i'm wrong for the part. and of course, mike said no, you're not. he was right. he was absolutely right. >> i met mike nichols when he was doing "charlie wilson's war" at a dinner table in l.a. and you would never know. this was in the middle of a shoot. and it's wednesday night or something. normally, that's -- they're not available to go to dinner. and if a director can go to dinner at that time, they tend to be not present and frantic and worried about tomorrow morning at 7:00 a.m. and all that. and it was as if, you know, he had just kind of walked in off the beach and have a nice dinner and chat. no pressure on him at all. >> he said more wise things than almost anyone else. a few other people perhaps. i skid him what is the difference between theatre and film. he said film is an act of the unconscious. it is the unconscious speaking to all of the other unconsciouses. and that, i think, defines film as well as anything as i've ever heard. he said he was sitting alone in t

restaurant, and the tap beer but it is an impressive business and probably challenging with robert redford subdance type of chains but we will see that in san francisco, soon. and lastly, i think that it is the rapid growth of austin and the rapid growth of san francisco, to made me think of a lot of the challenges in austin that we face here that i really enjoyed the trip and thank the national league of cities for a conference that opened my eyes for a lot of amazing things that happened there and making any appreciate san francisco as well. thank you. >> thank you, commissioner mar, and commissioner yee? >> commissioner kim? >> we did attend it in new york city hosted by the transportation alternative last week, two weeks ago. and it was actually really great to hear what our counter parts in new york city and sweden have been doing to implement the vision zero in their country, or their city. and i also, we got a chance to learn a lot about the advocacy groups that exist in new york city as well. and i know that some of the colleagues that were already very familiar with the transporta

i said i will do it if i could get the guy i saw in the playhouse, robert redford.e were hers for a week and didn't. said this hirsute, i was i supposed to do. -- we rehearsed for a week and did it. >> you said she was the a youant idea creator with a person who knew how to move it along. the shape ofnse of it. i was not as inventive as elaine . elaine could go on. elaine was enormously inventive and still is. she came up with these characters and she could've gone on. i was through after a certain amount of time. improvising is a great thing because you learn what the audience wants. says ok, why are you telling me this story? you have to provide certain answers. it is funny is one answer. because it is a you is another. because of the pressure from the audience while you're improvising, they are constantly in an outspoken wife saying, so, what is your -- in an unspoken way saying, so, what is your point? we are teaching you what the scene is made of. elaine had a rule when in doubt, seduce. >> seducing the audience? >> seducing me. a fight is a scene of seduction.

it was the mid '60s, the ascendance of people like robert redford, the blonde, blue-eyed, guy next door as the all-american leading man, and here comes dustin hoffman who does not fit the description but, nonetheless, what nichols recognized is he had great magnetism and great gift as an actor. >> successes followed in the next decade. >> brown: a string of other successful films followed over the next decades, including, "and these show his range," "carnal knowlege," "working girl," "the birdcage," and "closer." nichols talked about his approach to directing in this pbs "american masters" interview. >> well i was talking about shooting a scene. i said, "what you do is you keep shooting until the thing happens that nobody could've planned and say, ok, now we can go on." that's the whole-- that's what a movie is. namely, it's the place in which unconscious meet both in the making of, and the seeing of. that's what they're for. >> brown: in the theater, nichols was equally at home and talented. his first broadway show "barefoot in the park," in 1964, earned him his first tony. later effor

. >> it's like the movie "the candidate" when robert redford wins and he says to marvin, what do we doso what do the republicans do now? >> all across the country, the voters said they don't believe our country isn't headed in the right direction. it's not too late to turn things around. i think it's important that the republicans -- all the great bills passed in the house, and sitting on harry reid's desk, now they're going on president obama's desk. >> what if they go on his desk and goes into the trash can? >> that's not acceptable. he'll veto the great ideas and he says that's okay, but it's not. this president becomes more and more unpopular every day. i think the president really needs to change his tune. >> do you think he can do that? you said in the news conference on friday, yesterday, i mean, do you think he can really change his tune as you say and compromise and reach an agreement where there hasn't been one? >> he's not only hurting himself and hurting our country, he's also hurting his own party. for someone who's all politics all the time his decision to only accept com

no actress has been -- actors like robert redford.lot of buzz and she's worked really hard on telling the story based on the 2010 nonfiction book. "into the woods" is a lot of fun. and it's a fun, it's a fun sort of fractured fairy tale based on the musical. >> i was going to say, it was a great play. it was fun to see in the theater. let's play a little clip since it hasn't been released. here's that, everyone. >> this is your -- i'm now interred in a prisoner of war camp. >> i can't say this, says about america, it's not true. >> don't look at me. >> it's so powerful. it just looks incredibly powerful. what can i say? the other movie i want to talk to you about is one that might be a little bit hard for audiences to watch. it is the latest in the museum, night at the museum franchise, and it's bittersweet because of the death of robin williams. let's play a little clip from that trailer. >> theodore roosevelt, president of the united states. >> i have no idea what that means. >> you are speaking with the pharaoh, kiss my staff. >> i

kerry, the keys to both roberteehery, to quote redford from "the candidate, what is the gop go from here? with power comes responsibility. they have a responsibility to do bold oversight of the obama administration, especially its many failures. theirlso have to push agenda. if they are going to try to appeal obamacare, which is unpopular with republican voters -- if that does not work, they have to figure out how to amend it and make it work better. i have other things on their agenda that they want. john boehner has talked about job creation. the way you create jobs is by creating the conditions to create jobs and one of those things is tax reform. the tax code is completely messed up. in more trade agreements so that we can export more of our product. the message of this election was we need the government to start working again, and john boehner and mitch mcconnell have promised to get the government to work again in a more efficient, effective manner. host: are they saying the right things in the press conferences in the days after the 2014 election? guest: i think there are -- i th

robert redford has financed independent films. and that's what he did.s ago this was going to develop into a monologue. just yesterday celebrated having an oscar to his career as a playwrighter. so, you know, the whole thing grew much bigger. >> let's show another example. this is squid sex. >> i've heard it's the best. >> fried calamari my favorite. if i were a calamari i would be a squid. and everyone would want to eat me. my luminescent effects and changing shape, i can communicate, i can say, be careful. i can say i love you with my whole three hearts. i would give the most passionate 20-arm embrace. 20. 18. 2 are not arms if you know what i mean. >> oh no. >> they're called arms. >> do you know which is which? >> it looks slightly different than the other arms. incredibly, the male slides with his arm, a capsule full of sperm, and the female keeps it inside her. she has a special organ called the spermal taker. and she would keep it there any she is ready to get pregnant. it isn't like us. nine months later, we have babies. no. some animals can cons

kerry, the keys to both roberteehery, to quote redford from "the candidate, what is the gop go from herewith power comes responsibility. they have a responsibility to do bold oversight of the obama administration, especially its many failures. theirlso have to push agenda. if they are going to try to appeal obamacare, which is unpopular with republican voters -- if that does not work, they have to figure out how to amend it and make it work better. i have other things on their agenda that they want. john boehner has talked about job creation. the way you create jobs is by creating the conditions to create jobs and one of those things is tax reform. the tax code is completely messed up. in more trade agreements so that we can export more of our product. the message of this election was we need the government to start working again, and john boehner and mitch mcconnell have promised to get the government to work again in a more efficient, effective manner. host: are they saying the right things in the press conferences in the days after the 2014 election? guest: i think there are -- i thin

(todd mccarthy) and suddenly the next day, redford and sydney pollack and universal and everyone is justo cash in my orange ticket. (piano music playing) (clicking of typewriter) "kafka" just appealed to me because it was different from "sex, lies." radically different. it would take me out of the country, so i wouldn't have anybody watching me. it could be made independently. oh, kafka, will we see you in the cabaret? (steven soderbergh) i knew physically it would be a very difficult film to make, and i wanted that because "sex, lies" had been so easy. what are you working on? oh, a man who wakes up and finds he's a giant insect. (steven soderbergh) its commercial failure was interesting, it almost didn't count. within the hollywood community the people who saw the movie seemed to like it well enough and respected the filmmaking. the fact that it was an independent movie almost made it not count as a blemish because it wasn't their money, so they didn't care. (slow music and heaving breathing) (steven soderbergh) now that it appears that there might be money to be made from independent-