tonight we want to bring you their thoughts on acting and the art of movie making. we begin with anthony hopkins on his oscar winning performance on silence of the lambs. and peter ustinof who talked about acting about what you do but what you don't do. >> i think hanabel lector is the biggest joker, like the joker but more scary. when i was in this part, i could put the part on then take it off. since they cut the camera. i walk around the set and give people a fright. just for fun like i would creep up behind one of the guys on the prop. and say, good morning billy. and he would go, aah. or i would get into the elevator going down, i would edge into the elevator behind everyone as they would all going home and i would say, you're all on my elevator. they would get a peculiar feeling. that's because they were living hanabal lector. >> did you blink at all while you were doing this movie. >> i'm glad you mentioned that. a way to scare the audience and -- would be not to blink. i used to go to the zoo as a kid and i would love to go into the serpent area and it was such a beautiful thing, so lethal. i loved that, that fascinated me. control fascinates me. >> reporter: yustonoff made his stage debut at the age of 18 and wrote a hit play before he was 20. he appeared in his first film 50 years ago and was told by the director that in his first scene he should do nothing. >> that's my first film, there was an aircraft missing where there was a distinguished actor named hugh williams. of the school that was inspired by an old english actor called dennis demorie. everybody talked about the way he offered cigarettes which was very special apparently. i never saw him but he would say cigarette. that was the acme of acting. people never thought about to be or not to be. it was this. and i rehearsed a scene for the film and he was watching me the whole time in a rather penetrating way which i didn't care for very much. i was 18 i think. he suddenly came up to me after rehearsal and said, dear boy, what are you doing in this scene? and i said, well, mr. williams i, i don't know sir. i thought you know i thought i would do nothing. he said, oh no you don't. i'm doing nothing. there was a position in the center of the stage or something that would take away from someone. it was very curious. >> in 1992, bob talked to two of hollywood's biggest names, robert redford and daniel day lewis. red ford who has two oscars one for directing and one for lifetime achievement talks about people who think he's good looking and how that's affected his career. and daniel lewis talked about his childhood. >> as a child i never was thought of good looking. it ran a gammot to flattering me, to disturbing me. the disturbing part was wondering if it was going to interfere my work. i did not enter it because i thought i was good looking. i entered it because of the art of it. although et was flattering at times -- although it was flattering at tiles, i thought if you thought too much about that it would interfere with the reason i went into it. >> i think i probably felt i had nothing to lose because i was in a school where i felt so completely alienated from everything that was going on around me and everything about the school. which i thought was the most dreadful place on god's earth. to me the theater was the one place of light in you know in a world of darkness. so to me there was no rejection. i could have been -- that could have been greater than the one i had already gone through. >> you think you would have been rejected by yourself. >> you don't realize what it's going to be like. when you think you're going to be an actor, you have no idea what that means. absolutely none. you have no idea that it's going to involve a great deal of difficult times and you know a lot of people are going to say, no. we don't want you. you know you don't realize thatment you just think you're going to act. >> still to come on a second look, morgan freeman talks about the tricks actors use. >> everybody has their tricks, everybody. and charlton heston responds to this penetrating question. >> i read something where you said you didn't think you were a great actor. follow second look on facebook and twitter. sweetheart. we need to talk. i've seen your stunts online. i can explain... jumping a ramp in a shopping cart. so 2005. wait, what? and only 3 likes? honey, it's embarrassing. carol's son got over 12 million views on that dancing squirrel video. don't you want that? i...i suppose. now go make your dad and me proud. tryomething funny. [ male announcer ] now everyone's up to speed. get high speed internet for $14.95 a month for 12 months with a one year term. at&t. tonight on a second look we're looking to some academy award winning actors about their craft. in 1989 just before the release of driving miss daisy, bob shaw talked to jessica brandy who would win the oscar and robert freeman who was nominated but did not win his oscar until 1995. >> i really prefer theater because i have a chance to perfect it and also another night to do it better. on film you have to get it right because there it is on celluloid to make it better. >> it should be nice at 89 that you still need make up to make you feel older. >> i think you could just not use make up to show it. >> you are my best friend. >> miss daisy. >> no, you are. >> would you prefer to space it out. >> you're not like to inundate the audience, four films. pretty soon they're going to go -- oh well. you worry about that too. i do. pretty soon the audience is going to start watching your tricks. yeah that's him. >> do you notice you have certain tricks. >> everybody has their tricks. everybody. you just don't want to get around going the pilgrim. >> bob talked to emm a thompson. >> the roles you play are not defined by age. >> aye been very lucky because i've had a very old career, really. i didn't start acting until i was 26. i did comedy, sketch comedy until that age. and i didn't do my first film until i was 26. i've had a very advantage time. i've haven't stuck to anything longer than 18 months. now i've written an adaptation and screen play and i would like to write for more. because i would like to do something about my own complaints that there aren't enough parts for women. i would also like to get into my 40s and feel that i was doing something toward reversing this ghastly obsession that we have with being young. and i don't know what has happened to us but we've appeared to loss the desire to get older and wiser which is one of the great beauties of living. it's just ridiculous and we have to do something ability. it exudes us all because we're raising a generation that are frightening to get old. especially our women. and for my next sermon i'll be talking about the evils of drink. bob also asked a pair of oscar winners what it was like to see themselves on scene. charlton heston during a rerelease in an epic el sid. >> do you ever surprise yourself when you see yourself on film. >> i don't see myself on film very often. >> you don't, why? >> i just get uncomfortable. i didn't used to. i used to be pleased with watching that 28-foot imagine. but i don't know. >> what changed? >> i don't know. i just, i guess i've become more critical as i've gotten older. >> how do you assess your own performance? >> i went through a period when the first film first came out where i didn't like myself too well in the first half. i thought i could have been much better. of course you can always be better that's the simple fact. i was content with the second half performance. the older seed. but seeing it the other night i thought no that's okay. that's okay. and of course sofia is a force of nature, a work of nature. >> where do you find your courage? >> each warrior needs time to fight for himself. go. >> i read something where you have said you didn't think you were a great actor. >> well i, don't think i ever said that. that was tony curtis. >> in 1988, bryan cop eland sat down with meryil streep. to talk about one true thing. >> it's got real turning big boiling emotions. you know. that's what i like in the movies. and movies have become kind of cool. and detached and it's -- so our film kind of stands out in that way. nothing held back. it's good. >> it's looking inside of -- the hardest to look inside which is your parent's marriage. >> yeah. >> would you like to get that close to your own parents. i will ask that question to both of you. to know all that. >> i don't think any of us do. there are things we just don't want to know. we don't need to know. >> yeah. no, it is. it's the one relationship that always remains sort of mysterious to you. you can't really know everything. but, i don't know. >> you don't want to know everything. >> you want to know, you want to make a connection. >> definitely. >> you definitely want to do that. and solve some of the mysteries. and that's what this is sort of about. but it's also kind of funny. >> it is funny in a lot of ways. your character is the happy homemaker who's a stay at home mom. and rene your character is the insessive career woman. i know you have four children. do you bake cookies and knit. >> no with four children i pick up. i pick up constantly. i pick up the extension, i pick up socks. i pick up the laundry. i cook, badly. but in quantity. >> when we come back on a second look, shirley jones talking about falling in love with her costars. a big later, joe fontane remembers alfred hitchcock and his influence on her career. it's oscar night on a second look. we're remembering oscar winning actors and how they refined their craft. >> if you could go back in time and give yourself some advise. what would you think? >> i think sort out the priorities. i think get rid of too much junk around the mine and other people's expectations and just have time to go inside and ask, who you really are and what you really need and desire from life. and how best to use your gifts. >> in 1954, kenneth tinan wrote, acting comes easier to olivie than any of his colleagues. is that true or did it make you seem that it came easy to you. >> i do think. i really learned how hard was his job. he made it seem easy. if you have, you know the better the engine you have in your car, the better performance the car will give. but that engine is covered, you don't see it. and that is with technique and he has technique to some extend but he honed it to fine art. >> he also talked about the process of movie making and how it affects him. anthony hopkins discussed his relationship with directors and shirley mcclain the chaos on endearment. >> i didn't know what was going on. i felt like a matron from pasadena. i couldn't cope with the chaos on the set. now, there are some who would say the chaos on the set is what produced what would you call it the tension underneath these characters. i don't think so. i think those characters were beautifully written. i knew how to play the part, so did everybody else, why did we have to have the chaos. >> directors have a big problem in their hands when they're trying to run a film. some get under a lot of pressure. the really smart ones are the one that is stay calm like james ivory. i think the ones that stay calm are the great ones. i don't like to work around the ones that scream. it's pointless getting out of bed in the morning. who wants to work with satists. shirley jones was asked if she had ever fallen in love with any of her leading men. >> well, you know i do believe in the old adage that you need to be in love. a little bit in love with each leading man in order to make it work. but i really did have -- if you want to talk a crush. and i was married at the time it was richard whitmore. oh what a crush. but of course nothing ever came of it. he was married and i was married and that was the way it went. >> are you proposing now? >> i guess i am. >> i really did have marvelous leading men. i really did. marlon brando and james stewart and henry fonda and mccray. jimmy stewart and still around and wonderful. exactly off screen the way he is on screen. the kind of the bumbling, very sweet low key guy and that's the way he is. and brando who i had a wonderful time with. a lot of people you know said how terrible he was to work with and he was very tempremental. we did a comedy with david. and he adored david. he always told wonderful stories and all the books he had written. i knew all the stories before he wrote the books. and brando was playing comedy. he loved comedy. he never had an opportunity to play comedy. and he loved the opportunity to play comedy. so i guess i got the best of brando. and we talk to one oscar winner, the only one to ever have the opportunity to work with albert hitchcock. whoever said that "less is more" is more or less mathematically challenged. less isn't more, it's less. and the only thing more than more is a lot more. which is exactly what i get at embassy suites. more space... more down time. more family time. -more me time. -more me time. -more me time. because the more more i have, the more i have to have... more. 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[ traffic passing ] ] ♪ [ music box: lullaby ] [ man on tv, indistinct ] ♪ [ lullaby continues ] [ baby coos ] [ man announcing ] millions are still exposed to the dangers... of secondhand smoke... and some of them can't do anything about it. ♪ [ continues ] [ gasping ] it's oscar night and here on a second look we're revisiting academy award actors to hear their thoughts on acting and careers. the only actor to ever win an oscar in a film directed by hitchcock. she spoke to steve slisky on the director and his influence on her career. >> i owe my whole career really to albert hitchcock. i had tried out for rebecca seven times and i was told he wanted me from the very beginning. he was a star maker though. he didn't want anybody well known. that of course has happened a great deal the directors want took the stars of films himself. and hitchcock and george stevens and a few of those williams willer started that thing of using an actor for once or twice and then after they have established them, wanting new material. so again it would lend more believability to a role. if the star was not known. if the lead rather were not known. and very often if you will note that the acardmy awards were given to people who were not established because they seem more believable. after you have seen somebody four or five times in a movie, know pretty well that wonderful thing that happened is part of their personality. it wasn't acting. my very first film and this is hollywood for you. was indeed no more ladies and i had another name. solburg had seen me and thought that i would be right for a sophisticated woman, a rival to joan crawford and i was 18 years old. and i had never done anything. but they dressed me up in some very chic costume. by adrian, i weighed 95 pounds so you can imagine i looked like a broom. and i guess it was the clean sweep because i was so scared that i could not remember any of the lines at all. and i think they kept cutting down the lines. i think i just nodded and passed through finally. and that's it for this week's second look. i'm julie haener, thank you for watching. on's hot. starting at $4.99. only at denny's. america's diner is always open.