>>ose: welcome to the broadcast. we begin this evening with "time" magazine's rson of the ar, as described by "time" magazi's managing editor rick stenl. >> this yea wasbout the econy and about the disasous outcome that might have happened so i was looking for somebody thugh whom we could tell that story and somebody who by virtue of his actionsade a differce in transformg what happened is year. me that person more than anybody else was ben beanke. rose: and wealk with the stars of "crazy hrt." jeff bridges. >> i was quite fearful about thisart even though it was such a great opptunity. almost not... even though it was a great opportity, but almost because itas a great opportunity was frightening. you know it's like... you know, it's like this is the open, you're a wideeceiver and yove got... they're throwing that long ball and you can sll that touchdown and you say "oh, god, let me catch ts ball! >> rose: (laughs continue our conversation about the film "crazy heart," joining jeff bridges and she maggie gyllenhl the actress and scott coer, the director. >> clearly having no prr experiences, have to say, arlie, that when youhave actors of thi caliber who are connected with chemistryt was just immediatend their work was just bone raw. i mean, it a dream. >> i think actually eryone on the set, including you, everyone was worried ias having all thesfeelings and wanted to respect me and wted to go quicand jeff said "let it go every tim and you can... wh knows what will happen." >> rose: rick stenl on "time" magazine'serson of the year. ben bnanke. and the director and stars "crazy hea" next. if you've had a ke in the last 20ears, ( screams ) you'vead a hand in giving llege scholarships... and support to thousds ofur nation's... most proming students. ♪ ( coca-cola 5-notenemonic ) captioning sponsoredy rose commucations from our studios in new rk city, thiss charlie rose. >> rose: ben bernanke has bn med 2009's pern of the year by "time"agazine. as chairman ofhe u.s. feral reserve,e has been a central player in guiding the u.s. economy duringhe financial crisis. this week's issue,time's" chael grunwald writes "his creative leadehip helped sure that 2009 was riod of weak recove rather tn catastroph depression. and he still wlds unrivaled power over o money,ur jobs, r savings, and our national future. this year's runner-up were genel stanley mcchrystal, the chinese worker speaker of the house nancy pesi, and runner usain lt. ining me nowick stengel, e managing editor of "time" magazine and he kno exactly why they go.. >> (laug) >> rose: s go through the process of why ts is the man for this year. >> crlie, to me this year was about the economy andbout the disastrousutcome that mig ha happened. so i was looking for somebody through whom we cod tell that story. and somebody who by virtue of his actions acally made a difference in transfoing what happed this year. and to me that person more th anybody else wasen bernanke. >> rose: why not, say, barack obama? >> well, youknow, back obama could be the person of the year every year in the sense that the prident of the united states ishe pme mover behind so many difrent things. he was, of coue, our person of the year last year. but, b the way, he's outsourced a lot of things t different people, including nancy pelos and, ithis case, to ben bernanke. >>ose: and to general mcchrystal, o. >> and general mcchrysta so they' all onur list. but in the most macr way... i mean, ere's a kind of poetic justice to what haened this ye with ben bernank here's this great scholar of the greatepression who is in a position t change history himself and realize"i am not ing to do tho things that caused the grea depression in the1930s." his slarship is all about how the d actuallmade the depressionorse in the 1930s by whatt did by. constricting the moneyupply, by trying to balance th budget, by telling amecans to pull up their socks. he said "i not doomed to repeat histo." >> rose: ande knew the history so therefore he knew whatnot to do. he wrote to history. >> rose: exactly. so tell me the kinds of tngs he did. >>asically, this story really started athe end of 2008 whe it looked like that whole financl system was going down. you know, one thing that... why i wanted to do this story is that ihink amerans sometimes don'understand all of these large forceshat are outhere. i know i didn't. i mean, u know, the financial system and the economyre two different things but if technological stem goes down, it takes theconomy with it. andhat's one of thehings that bernanke realized, that geithner realized, that paulson realized. anthat was the start of all that he did. and then durg the course of 2009... i mean he inject nearly three trillion dollars into our economy which not only lped the banks, it help udent loans, it helped car loans. he bought a trilli dollars of mortgage securitie alof these thing are aually injecting moneinto the economy in a good way. i mean, you know, richard nixon said famsly many years ago "we're all cesians now." he's a canesian. we were all canesians now becauswe realized what happeneduring the great deprsion is that we didn't put money into the stem. rnanke realized that we had to. ye there are people who tal abou inflation and the fed... rt of its responsibility is to contl inflation but he d to put out the fi and youcan't worry about gettin the furniture wet when y have to put out e fi. >> rose: i the combination first with hank paulson and then with geithner and summers, is he the dominant ice or ist sily because he at the fed and e fed has so much inflnce? >> it' a good queion. we had the longest and only on-the-record intervw with him at the fed, had a two-hour interview. and, again,emember, weelect the rson of the year, it's the person w is for better or worse st influced event he said many times, look, i didn't seehis coming, i missed it, i reacted too late, but when i realed what it was i went town on it. u know, i did whatever it took. so i mean, i that sense, i can't tell you... can tell you who e particints are. i can'tease out whid what. and i think they did i together and certainly o of the thing thought about was, your ow, is the pern of the year a committee to save the wld? geithner, summers, and rnanke. and certain they would have been vad because they all played really importa roles. rose: when htory comes to judge him, where will the controrsy be? >> some of it will as we've seen with plenty of books already abt the decision to let lehman others go der and what that did. that triggerealmost a financia armageddon. i think... >> rose: he dends that decision? >> no, he doesn't defendhat decion. i think he thinks that was a mistak and that... >> rose: then why did they make the dision? you know they didn't see it coming. theyidn't see what the rekar cushions were. rose: so they lk at it after e fact as a mistake? >> there was no yer. looking forward... for example, the fed s bought during the st year one illion dolrs wortof morage securiti. right? they are...e don't even know what in that huge trenc of thgs that theyought. but he felt at he had to b it to kpthe housing instry afloat, to support the economy. one of the controveies will be how did they unwind that? what does that mea over the next yea two years, five years in ter of the economy that's a big unkwn. and, by the way, it's a big unknn to him, too. he tks about it... and he's very circupect. i mean, you know whate's like. he's incrediblyild manred. he. you know, h keeps aware of everyingle phrase that he says bause it can move markets but that is certainly a concern. and that will a big issue in the years to come. >> re: "time" magazine's man of the year. you will see that tomorrow morning. ben rnanke, chairman of the federal reserv what'snteresting about this i that part of thedebate in the congss today is how different people in the coress see the role of the fe whether the fed should have the primary re over financial control or not a lot of debate continues about this initution that th man leads rick stengel, editor o "time" mazine. ank you. >> thank you, charli >> re: we'll be right back. stay with . >> rose: ff bridges is here, he has been called the most underrated aor in america. for si decades hasplayed everhing from a high sool football star to an alieno the president the united stes. a.o. stt of the "new york times" said "someof mr. bridge's pee may have burned more intensely in their prime but very few arican actors over the past 35 yea have flickered and slders with ch craft and resilienc" here's a look at just some of his work. >> whayou talki about? me a her was in love. >> oh, you s. she like med justs much as she ever liked you. >> that's a lie! >> i'll stay with her all one of thes nights too, she done promis. she done td me you couldn't do it that me at wichitaalls, whatbout that? i dot know >> i d't know if you're man ough to take on a car like this. are you? i don't know. i have a wooden leg. serious? >> y never can tell. hey! comeback here with my car! i mean you n harm,enny yden. >> i nev missed a beat. >> i never missed the beat! >> that's right. that's because you me it up as you go along. >> takit back. >> take it back? wh is this, the third sglad >>ake it ba! >> eat the kiwi, frank. hey! go to bed, frank, this is going to get ugly. >> emoyed? you d't go out looking for a job dressed like that, do yo, on a week d? is this a... what day is this? >> well, i do work, sir. so if you don't min.. >> well, i do mind! the dude minds! this will not stand, yoknow? in thiaggression wl not stand, man. >> you just look those bastards in the eye and tell them exactly that. these guys, they're goi to confirm yobut they want to embarrass you the process. they want to sd you into ts administration as virus. so you have only one choi. >> yes, sir. >> don't bembarrassed. here is the technogy. i've asked you to simply makeit smaller. >> okay, sir, that's what we're trying to do. but hestly, it's iossible. >> tony stk was ableo build is in a cave! with aunch of scraps! >> wel i'm sorry. i'mot ton stark. >> the lieutenan colonel used funds from the proct's black budget to procure prostitutes >> that's a lie! >> a to get drugs for himself and his men. >> that. well, the hooker thing is defitely a lie. >> rose: what do y think of all that? >> (laughs) i love seeing it. it's like aome knew movie brings it all ck. >>ose: any of those roles most memorable for you? >> oh, all of tho guys, all of roles re such fun and wonderful memories. >> rose: the b leb ski, though, ybe? >> every one of tm. the corr thing that actors say,hey're all liketheir children you know? that's so true. >> rose: in his latest film "crazy heart" bridges plays bad blake, a washingto d.c. up country sician in search of a meback. he's the trailer for the film. >> mr. blake? i'm jean craddockrom the "sun scene." tape recorder okay? >> go ahead. >> what's your realame is >> i'm bad blake. my tombstone wl have my real na on it. until then i'm just going to ay bad. ♪ you have mething to lose, you road wit nothing to lose... ♪ >> where'dll those songs come from? >> life, unfortunately. i'm 57 years old, i' broke. >> why don't you sit down and write some son, huh? ♪ you called all yr shots... >> i keep feeling obliged for needg topologize for being less thanou probay imagined me to be. can we go out and find some ouble to get into? yeah, big trouble. >> i knew at the risks were with yound i took them. >> that's one hell of song this is going to beour best year in the last seven. >> never too late, son. never too late. ♪ pick up your crazy heartnd ve it one morery... ♪ ♪ ain't no place or the weary kind. thanks for coming out. it's so good to be home. ♪ one more try... >> rose: and he's alook and listen at e music. ♪ i don't know, by, where we've been, where the future ♪hat we've planned so long ago ♪ i don't know ♪ i d't know if y're my friend, go long, lon look ♪ and come back again withme, babe. ♪aby, i don't know ♪ come on back! come on, sweethear♪ ♪ all rig... ♪ you thinky now i'd know better, i a't got aot to show ♪ i ain't got aar, i can write aletter, i don't know ♪ >> rose: i am pleased to have jeff bridges back at this table. weome. >>hank you, charlie. good to be here. >> rose: what is it about you? how do you inhabit all those chacters? >> (laughs) >> rose: and the way you do. >> you know, i approh it basically e same way, look at aspects of melf that kind of parallel the guy and in this o you know, it wasusic. i've bee playing music since i was a kidand singing and performing. >> rose: and they used to say, in fact, growing up in t bridges house hold that beau was out there playing spos and in your opinion your room with a guitar. >> thas right. that's exactly right. yeah. >>ose: so you loved music? >> lod music. and, you know, the other thing i do is ok for re modelsnd main role model on this one was a guynamed sten bruteen who i met along the-bone bnett who is the music man in chge ofhe whole vie 30 year ago when we were doing "heaven's gate" in n montana up there. and chris. kris kristofferson, a b role model for m in this picture, he assbled all of his mucian friends to play sll parts in that movie. and that was six mons of jamming... >> rose: when you were making heaven's gate. >> making heaven's gate with stev bruteen and bone, and steven, who wre a lot ofsongs in crazy heart, he was wi me every step of th way on this one and s life paralleled bad's righdown the line. you ow, from driving himself from gig to gig and loading his guitar and amp and you kn, he hatroubleith boo and drugs and all at stu. and so he was rht there. i could ask m, you know, what would this be le? what wouldou... what would you be sing here? anscott cooper,he director, was also very open about steven incling... you know, giving us any kind of tips that he might >> se: scott cooper is a first...his is the first time he's dected a film. first time he directed anytng! no high sool play oranything, man, this is the first timeut. >> rose: so you basically said "i'm trusting this guy, he c liver, i've se the script, i've read the script h wrote and he can diver"? >> he wrote areat script and i've had, really amazing exriences with rst-time directors, very successful ones. i have aong list o them. baker ys, fabulous baker boys, that was direed by steve clovis,he wrote that when he was 23. >> rose: what it is about t first time directors? they don't know what they can't do? >> that'st. that's a lot of it. but al you need the talt, of course, you know, t we haven't do much bett than mr. welles "citizen kane" was h first time out of t gate there rose: tell me about your character and then i want t kn about the music. who isad blake? >> well, 's a country singer, country writer. who's nd of downn his luck. one of the first bits of direction that scott gave me was... he told me if bad blake was a realharacter, he wou be the fifth highwayn. and, of course,ou know the highwaymen were willie nson, kr kristofferson, waylo jennings and johnny cash. so that help me a lot. >> ros that would set i for me right there. what ee do i needo know. >> yeah, that's a good thing. ye. >> rose: andou look a bit like kris, as peopl will tell you. i sure do. >> rose: but the music part, t-bone burnett is in it. there's story that yo called up t-bo or he called you before you accepted and said "let's do it"? >> the way it went, i think when i first t the scripi was making anoth movie. i'm usually... i have blinders on, you know? and i read thecript and i said oh, this is a well-wrien scriptnd it's aboutusic, that's a big ps. but there was music attached to it. itas a big missing piece a there was no musical superviso or abody in charge. the bar w set pretty high for me with movies about mus with "fabulous bake boys" because they had all those grt jazz and pop standards and the gat david bruceen waat the hel, yoknow? and this was aig missing piece fothis one, for "crazheart." so i tk a pass on it d then about a year later i ran io t-bone and he said to me "what do you think about this script "crazy heart"? and i said it's good, why, are you interested? he said, i'll do it if you do it. i said come on! les go. >> rose: let's go! >> yeah! >> rose: so her was a character you liked and a guy you knew could deliver the music. >> and even thgh we didn't haveny music, you have t look at the stuffhat comes out of t-bone, my god, he's woerful. rose: these are songs mad especially f bad to sing? >> exactly. the-bone, one of the things he sa to me, he sd "we're going to hand-pick the songs to suit you perftly, so they'll really be in yo wheel houses far as singin gs." and also that theyeally matchethe chacter. so some of the song we had some... me songshat were already wrten like we had great song that gregrown... are you a fan of greg brown? god, he's such a wonderful iter. he gave us a teific song called "brand new angel" that he had nevereleased. >> rose: so as you thought about creating this charact, you know chris youay have known but knew of waylon. and you've got t-bone there. what is it you want toknow in orr to create the thing you do well is to ve us inhabit this charaer. >>ell, the linesf the script, that's where cow start. what you say about yourself what othersay about you. and you just start to... like i was saying, y start with yourselfnd think about how you kindf link up. the similarities.. >> rose: so how d you think out yourself? mean, you hav't own...... >> i've certainly knn fear and i've known love and i've know intimacy a that's what most moviesand plays and all those things are about one w or the other. >> re: what was the great line we just hed when shesaid where does this music come from? and you say... >> life, unfortunately. and ju talking about ar, you know? i was qte, iwas quite fearful about this part, it was such a great opportunityven though it was a great opportunity t because it was a great opportunity was frightening. it's like beingn the open. you're a wide receiver an they're throwing thalong ball and you can smell at tchdown d you say , god, let me catch it! >> rose: as soon as yo start doing that youe less like to catch it because youlose your natural instinct. >> yes. and so bad, the character i'm playing, he those fears, too and the y he deals with it is boos numbs himlf and i think like a lot o artis he get caught up in this myth, you know that, my songs and my art com out my sufring and so suffering a good thing so i better kp suffering. >> rose: he al has a sense of who he is. heesists write knowing that that's easy ney for someone else. >> well, i don'think he resists because of that. i think he resistsecause he's not eased with wha heomes with. >> rose: o the quality of it? >> he fancies himself lik bob dylan,ho is another role model for me or leonard cohen. and he's not up to you have? and he mad at himself you know? and far as the intimacy and love thing, the guy haseen rried four times, you know? so he. he really wants to fall in love and be intimate and it's just too tough becse when those ladies t to know him he's pretty uovable. he's airresponsible drunk, sically. >> rose:uts that humanity about this guy. take the characternd how he sees the character played by colin farrell >>e's got a big chip onis shoulder, too, i think. >> rose: the first thing you have to see is a script and it says this characr is of inrest to you? >> well, youknow, i domy best not to work, to try not to let it suck in. because i know that i'm going to have to be apar from my dear wife susan. she to me the oer day we've been apart 11 of 14 month this is year. so that's not no good. and i've got a lotof other things i le that do besides act as well. ani knoif engage in this one there migh be something justround the corner that i can't see that i won't be able to do so i do my best to turn this stuf i read dn and usually if i hooks me for one reason or other it's like "t dfather" line, they make me an offer i can't rese. like this one,nce that music nell pla, how could i not do is? and en everything started th these wondeul actors, maggie gyllenhaal, who we're going to e here in a moment. a ance to work wither,'ve en a fan of her since "th secretary. >> ros what's the relationship between her character a your kharker? she's reporter with a son. she's doing a profile of you but give me asense of how you saw the dynamicof that... those twoharacters cominogether. it loneliness? >> is it wt? >> rose: loneliness? >>oneliness. i think maybehat i was saying about beforeabout ts intimacy. that he... i think he real desires that. i don't know aboutou. with my wife it was love at fit sight. i saher and it was ke dong that happened to bad, i think. >> you tal about your dad once with me and y bically made this really interesting point out him. thateople didn... because of hothe television series, people dn't know, so many people, what agreat actor he was and what he'd beenn stage here in new york. and at there is probably a disadvantageo being typecast. >> -huh, yea >>ose: which is ectly what you han't done loing at that rangof characters. >> isaw... when he did "sea nt" back in the '60s, this real successful t.v. sh, it was woerful but it was kind of a double-edged srd because he t offered a l of scripts after that show buthey were all scripts fo skinivers. people thought hwas a skin diver that they ve acting lessons to. >> rose:ather thann actor whoearned how the ski dive. >> and that wafrustrating. he's ashakes spern actor, he replaced rhard kiley on broadway an of laman that." >> rose: tt was a ece in the "wall street journal about method actinbecause of marlon brando specically. saying on the on hand there are actors whoare more like archaeologistings whsort of dig down and there are other actorss who e like architects and they conruct and most.. more american actors are of that type than are tho method actors. you seem to be halfway in betwn them based on what you said to me. >> my father was my ter, my mother as ll. and not too long ago i saw a documentary on michael ckhov and alof a sden i see my dad being intervied in there and my mom rose: chekv, yeah. and i >> and iealizing "oh, that's where my uff came from." and i remembery mom teaching me about acting and she talked about three differe ways to approach a pt or a sce that you're wking on. one, do it as if you were the character and exple just how u would be in this scene. and then the other way would be do thecene that is different about yourself. what is different,ike a limp, an accen a look with your face. and the second way, you menti is way architecture and this is probablthe most important. but hothat scene funions in ilding thi.. building ofthe movie. and what the funion ofhat scene is. anthink about at. there's manyifferent ways to go at it and one of the great thin about making movies is that it's a communalrt form. so you get to work with all of these artis and you get to p intoheir minds andthey help u transcend yourwn imagination who this person is. so you really... i certainly look to the direor and th costeer and the makeup person. all these people add tit. >> rose: youmother lived a longife, didn't she? >> yes, sh did. she died. she would have loved this movie, i think. she ju died not too ng ago. >> rose: why wld she have loved it? >> anyime her boy does well, you ow. >> re: (laughs) >> she probly woul't, actual, now that i think of it. e likes when ilay the presidenoar doctor. >> re: oh, she liked that. >> she didn' dig the dude too ch. she wouldn't like thi guy. >> rose: but is this. the aracters that you've playe, all those we saw, who's the most like you? who do y think? >> aspts of me... i have aspects of all of the guys the dude ces to mind ju because those are my shoes. a lot of my clothes were the dude's cloth. >> rose: you still taking a lot of photograp? >> i took someon this one and i'm ing to give you a bk afr this show. >> rose: a boo of your photographs. >> aook of my photograp. used to givehem. i kind of stopped doing it but i started this one again. a book ophotographs i give as gifts to the crew. >> rose: you take photographs during the shoot, th life of movie, this one being 24 days. >> that's right. >> rose: and you put i into a affic book. >> yh. and it's this wonderf camera that my wife gave me on our wedding day. it's a widelu camera, one of those older stter mhanisms. you know lon shots like the civiwar, you know, you see these long things, just taki this camera, first time i became aware of it wa in hh school and ere was a rumor going around that thecameraman was going to take ourlass cture had th cara that if you ran around real quick you could be init twice twi. >> rose: (ughs) >> it's true! and 's great to take pictures of the vies because it's almost a 70 millimer format. oks like a 70 milliter frame. >> rose: if u hadn't been an actor you would have bn a otographer or a knew snigs >> i don't kno obably musician. >>ose: an arst of some kind. >> an artt of some kind. >> rose: youpaint. >> i paint. yeah. take pictures, do cerams. rose: so it's pretty hardo t you out of tha into a moe. yove got your family tre. >> yh. >> rose: it's got to be pretty damn good. >> i love it. when i'm there, man, iave a great. well, i was going to say i have a great time but it's theamut of emotions but it's my life. love it so much. >> rose: y are obvusly aware of all theraise that' hepd on you and ty still say things like "underrated" which suggests that this guy' better than he's even talke about. that people dot get how good u are. how do you compute all tt? >> that's the grtest compliment, man. yoknow, there's. and ts ew chih is chock full of is nd of stuff because as an arst you wt to be kind of invisible. yodon't want to ... this is the kind of arthat i admire, yoknow? there's a serb denseness to the tors that i enjoy watchin, like duv that has. you're not watchin him and seeing him almos move like skier tting all the gates and trying to make the aience feel this way andhat way. it justeels like you're a fly on the wall. >> rose: you don't see the acting, you see the characr. >> what's scot is done is so beautiful, you d't see the direction. it's i so simple. and maggie's the same way. you don't feel that she's just acting she's justhere. and it's wonderful to play with thoskind of people that are doing it thatay. that's the way like to do it. man, it's really fun. >> rose: it's interting you y that. re is robin williams onhis show talking about you. roll tape. >> the other great gift was jeff bridges who said "whenever ere's an accident in tms of filming, not like something faing down, but aine may get flubbed oromething goes off, that's a gift because that rces you to be in the moment and deal with it. rather than tryingo improvise and crea that, it's sething that happens in everybody' uth... >> rose: rpond to the... >> respond to what going on imdiately. and it kind of. oh, coo and don't be afraid tory those things andt forces evebody to kind of engage as i life with the immedte moment. >> rose: i thi he has very good movie out that's getting enormous attention. >> he's one ofhe great american actor >> rose: i couldn't agree more. >> andhe's underappriated. he's so tural. people think is just him. each and every one of his performances is diffent and onic. in "the big lebowski" the dud is o of the great sner characters of altime. in california it's documentary. >>obert! that was great, man rose: i'm going to probe this for aittle while. what is , snow ital sflent is it... what is it? th gives you t gift? >> a lot of it is... look at this witwhat i do and exact what acts do, e way we're talking about it as sort olike advanced pretend. remeer when you were a kid how mu fun it was to pretend. and this kin of... rose: a higher level of pretendi? a >> a ltle higher level of that and i rememberplaying as aid e more you got int it and the re the t kid you were plang wi it got it into it you sa "no, this is real." the more fun iwas. that's kind the approach. i don't kn if that has anything to do wit it butt mit. it's a joy for you? >> it is. justatching rob, he w so,so grt to work with in that way you know. was... i was kind of frightened to work with him. when i heard that i had the opportuny to work with robin. well, i knew i had these long mologues that i hadoive... and he was supposeto be in a co, right? and iust imagined,ou know him sittinup there getting me, you ow? and i'm thinking h am i going to this? d he was so beautiful and supportive and this ki of zen-like way. he could have been aslp but he di't sleep he wasthere for me and such a butiful way. i'm having a kinds of memories about robin. >> rose: i can see in theour head all flooding in there. >> let me tell you one me robin ory in there. it tells you quite a t aut terri andthis idea ofthe child like stuff that i kind of count on and try to eate this kind of envonment on the set. robin, who would be working long hours, would b 3:00, 4:00 i thmorning, evybody would be bushed and robin (laughs) uld plant his feet d ... art to jam on t crewnd start toiff and do this improvisatn. andwe'd go on and on and mt directs... you know, they' be looking at their clocks sing "we've got shoot." buterry gilliam would egg him on say "oh, what about tt guy?" and robin would go on for about a half hour. d after that everybody was energized, younow? and that kind joy to the work it really has... jus the word play, th's what it's called, right? we're putting on pla it doesn't have to b seriou, necessarily,ut it's also doesn'have to be... it's sincere, you kw, you n play beethoven, y know? my father i remember, working with him, i word with him twice as dn adult in "tucker and in "blown ay." and i remember is probably the greate thing i've leard from himnd just ho he behaved and the joy brought to his work. he doeshow biz so much. and i noced when he me on the set you could ll he was having good time and everybody said "oh, yeahthis is. oh, ye! i forgot! this is kind of fun!" and erybody's... it relaxes everybody and yo best work comes t of being relaxed >> was it inevidentble that that's where you'd d up? >> probably, iresisted it, you know, because like i was telling you, he loved sw biz so much that he encouraged all his kids to g into it. and like a typical kid, i didn't nt to do wh myarents wanted me to do. so... >> rose: so why did you end up as an actor? well, i don't have much of a choice. he carried me on when i was six monthsld and heould bribe me when i was doing "sea hu." he would say "there's a part for kid in sea hun do you want to do that?" heaid "you get to get o of school. t some money, buy some toys. come on!" >> rose: (laughs) he was a salesman, too. >> that's right. and it took off and became the path of least resistance. d done maybe ten movies before i cided this is whai want to make my career. >> rose: do you continue to learn? >> oh, yea yeah. >> re: but about experiences or about the craft? >> kind of the same stuff. kindf like the same lesson over and over again dealing with fr is one of the ma things. >> rose: what do you mean by that? >> well, the exale i was i was ging before. you're anxio because you want to do it rit, especially if it's something you really care about. and how doyou deal withhat? i toldyou i had about ten movies under my bel before i decided and e movie that really put me over and made me dede that this is something i nted too for the rest of my life was a smu vie of the great pl "the ice man ceth" eene o'neil i initiall turned itown. was even playing those that back in tse days "oh, i'm bushed, i was just in a mie, i don't want to do it." i finally decided, well, i'm thinking aboutot being an act, tang another path. i'll do exan experiment o myself and if you're professional, yohave to do it when you don't fee like it. we, i i don't feel le it, want to do it and see what happens. maybe this will put the nail in the acting coffi >> rose: do thinknd i'll know it's not for me. >> so i get in this, th is directed by john fnkenheimer, ederick march, lee marvin. and all of my scenes are with robert ryan. and we'r sitting at a table like thisaiting for thisank d bob's like thi and the guy says "okay, we're going t roll." d bob takes his hand and sa "we have to x the light." and i look at where bob's han we and the puddles ofsweat on the table and i saidbob, aft all these years, you're still afid? you're frightened?" >> heaid "i'd ally be scared if i wasn't scared. >> rose: i'd be ared if i wasn'tcared. >> i'd be scared if i wasn't scared. and i saw allthese old pros are scared to death! >> ros so there was was ok to be sdmard >>hat's right. i read an article of... mike tyson gave an article in a magazine ande was talking about it. remember theirst time you saw mike come outand you say, mic, ohy god. you know why he fought like that? because he was afraid ofhaving ansthma attack. he had asthma and he said "i better finish th guy off quick." and he goes on to talk about fear. he says fear is like fire. u can cook you food on it, u can warm yoursf and you can burn your hou down. it can kl you. so it's the same thing. thatear is always, always with me. >> rose: the fear failure? the fear i'm goi to be proven i ve no talent? the fear of... >> yeah, all of those things and the unknown. d the unknown. of maybe sing... of no having ar. >>ose: like robert ryan said. the fe of neveraving the fear. >> suddenly you say oh, i feel very raxed. uh-oh. >> ros that's something i don't know. >> soit's your buddy and you've got figure out how to wor th that. >> rose:ut what do y worry about,now is the performance? i'm not going to remember the words or i at the en result not going to be good as think i am. >> i don't know. i think the md is... it's one of the things e mind doess worry. it's just something the thatthe mind kind of... in buddhism they have thishing called a shea. and your mind. just likeour heart beats. each organ has a thi. your mind has thoughts and every once in a while you'll get a ought and nowou'll run with that thoug and you' say "oh, i'm sitting re with chlie, i bett say something." and you'lltart to work that thought and pretty soon tt thought become this is concrete thing. in fact, it's nothing. >> rose: we're goingto meet your directo scott coope ggie will be here and wll talk more about this film. stay with us. joining me now ithe direcr scottooper and the stars of the film. jeff bdges continues with us and maggie gyllenhaal. first of all, congratulatio about th. >> tha you, charlie. >> rose: fit time you're working with people who know what they're doing. you' got t-burnett how did you put it tother. how did you come up with this? >> i alwa wanted to tell merle haggard's li story. and spent a little time with merle on his bus,the serchief went to aouple showsnd really... growing in virgini i cut my teeth on this music. at three o four, my parents would take me ound the blue ridge mountains of virginia d i literally cut my teeth listening tobill monro and doc watson d ralph stanley. was steeped inbluegrass and i got older listening to my d's l.p.'s of waylon, chris and mee and those guys. reallyrote about their lif experiences. and many of theirlives are ripe fo cinematic explorion. i felt like, let me tell merle's stor merle had several ex-wives and it made it very difficult to attain the life rights and so turned to this novelwhich was out of print, and i optioned it. i had neverdapted a novel. as jeff said, never directed anythi, high school play, music video. >> re: (laughs) >> i was naive ough to ink i could this. so irote to seenplay and sent it to rober duvall who's a ment of mine and afrequent collaborator a sent it to him hesitantly because he was awarded the best actor for "tenderercies." and bobby, as i call him, he said "scott, i love it, les maket, what do you need?" i said, bob, besides you and money, tre's two people i need to make the pictu and if i don't t them ihouldn't make the film. one the-boneburnett because he's peerless and the oer is jeffbridges. he said "t's goafter them. so i wrote them impassioned letters. but i haveo say any time a script shows up and rort duvall'same is on it,it gets oped much faster than if it doesn'have his name it. >> rose: he's your exetive producer? >> he's a procer and he's in the movie. rose: you had somhing to do with maggie, didn't you? a t. >>eah, well, we met on the me mere of... help me out. " >> "na lisa sme." >> my nephew jordan bridges was in thatmovie as well and maggi was inhe movie. she gave a great performance as she always does and i ha seener in "the secretary and "sherry baby." d i don't know if you came up to me or i nt up to u. how'd it dogo? >> hadn't done "sherry baby yet but ihad donethe secrety" and i had a couple glass of champagne, itwas my premier and i thoughi could talk to whoever i wanted and there's jeff bridges. >> rose: not goin to lose this opportunity. >> yeah. d i said "i love your movies." anhe said "we're going to work together one d." i think that's at you said. >>ose: >>es, i did. rose: did you mean it? >> i sure did. i could tell she was somebodi really wanted to work with and i s so glad that we made that nnection because she was on e top of my list when we were talking about who mightlay jean i said d, mgie. >> rose: so you sought outour actress withou casting? >> absotely. i nted jeff and t-bone and robert duvl to be a part of evy decision i made. truly chare i think i was just smart enough to surround myself with this group ofeniuses so that i cou make the film director proof. >> rose: we talked abou fear in theearlier segment tt we did that's part of this hour. what were you most worried about? what was the fear thatrove you? >> i think it was probably the responsibility that felt as a first-me writer and director with jeff bridg' career and maggie'srobert duva, colin farrell and t-boneurnett. all who had this rge body of work. and i didn't want toet those guys down and most importaly i didn't wanto let myself down >> ros were you worried abt airst-time direct? >> um...yeah. (laughs) i was. >>oes with the terriry. i've worked wi a lotf rst-time directors. i thi... ie made some good movies with first-time director i'm totally open to it. but think usually first-te directors get so sred, unrstandably, i think. they've got a lot on their shoulders. that they... i think they dede beforeou get therehat the scenes are supposed to about and how you'r supposed to respond and how you're supposed to feel. d that's the deh of it i think. and scott... i mean, scott's a actor. everyone keepsaying he' such a good directo because he's an actor. is that whhe undersnds actors and stuff. i don't think at's wt it is. he's le the much more experienced directo i've worked wh who are bvenough to just see what happe. like we ner planned ything. not anything. anhe let it be that w. >> rose: youooked at the tex d that was it? >> well, we did our work. whatev our own work was, we did . and then when we got to the scenes we just played them and they we different every tim >>ose: what did you like about the textn the script d the character? >> well...hat did i ke about it? >> rose:he was a realern? >> you know, i thinkow i kind of seeetter what itas i liked abt it. often when i see a sipt that i know have to do, i get this magnetic feeling, get thi pull toward it. i know i have to do it but don't know why until later and in this ca she's souch more vulnerable than anody else i've played d i thinkit's only recentlylike in the past few months in my own li that see how portant that it. >> rose: because you've got a baby now. >>, we i have had baby for three year took me why ybe it's tting olderbut i feel like i use tohink the idea was tojust be strong you could bend as fierce as you could be and don't think that anymore. and i think that'.. that was in jean. i think she's soft. you know? but what i led about the scri was that i could tell th the scenes could be about a number othings that if you had a... if it was a really great actoyou could come in and ay the scenes and they cld endin kind of 50 slightly differe places and the scri could support that. snoopl >> people often asked i tend film school and i didn't. i say i atnded the robert duvall school of acting and directing and onof his many direions to me was for scene starat zero and end at zero. have no ea where the scene is going to go, wheret's going to take you. >> that's gd advice. >> rose: sta at zer and end at zero. >> so often one of the traps-- it probab goes across the board for otherarts-- you'll be maybe take the fir tape and it's very fres and you say, wow, that felt like real life! so n let's recreate that and do tt again. >>ose: dro what we just did. >> ah. and that the trap. you haveo get back to zero. getmptiness so tha thing can happen ain. but if you have this already thing inhere, that can't >> whfr are when t out the make this fi, i said idea jeff i want thi toarken back to what i think the golden e in the american fil making, the 1970s. characterization a behavior the forefront, not plot." to do that i would watch movies of terence mick and bogdanich and hall ashby. and i wated with the snd off and the way they toldhe story with the dolly and fra and lens that it was all about behavi. as anctor that' a story i can ll. th would allow kw come in as a dirtor and say "we don't know wre this will go but let's try it and itave us anmbarrassment richs in the cutng room. jeff and maggie would ner play the same way twice. another thing i would do i watch documenries. people had no idea of the cama ing around them. live action events, w didn't realizthe cameras were here. the conversation you and were having por to cames rolling. that's wha acting is all about, listening, react, act, listen. >> rose: what kind of things do you learn? >> i think from jeff, one thing you actuall said to me... i think you sa it to me. maybyou just said itith your eyes, i'm not sure... well, we we doing a scene that was difficultand i rememr jeff sort of said to me "just let it go everyime." it was a real emotionalcene d i was feeling a lot of things and i w glad i was feing a lot of things. it was the sort of trap you can get into as an actor. ani think everyone onhe set, including you, everyone s worried that ias having all these feelings a wanted to respecme, nted to go quick and jeff just said "ju let it go every time." and who ows what willhappen. and, of course, that's what i think i feel about acting and how i think i'm suppose to do it but i forget, have all the feelings a i think oh these feel so good. and yo said "just let them ." also the oer thing i learned i think from you iswe reall went for it. we got down and did these scenes and i think i learned something abouthat. iwonder exact how to put it. i mean, whato you think? >> i think we approach it... feltith maggie we had such little time to get as deep as we have to get in a vie like... well, al movies, you know. we sho this... wead 24, 30 days, whatever iwas. very short period of time and so the way... some actors like to called by their character's name and they don't really engage with you as who you rely are. they like to...rom "aion" to ut" that they're io it. but i like to find out out the person i'm wking with and get to know them on a personal basis and mgie aroaches i that same way. we knew we onl had a cerin ount of time to get as deep a we had to get and weere eager, we were up f it. and it was just...t's hard to talk about it and puit in words. there's somethg in you, i hear a little voice s... you know it's almos like... you kno, you're very go, you bring us out. >> ros (laughs) is >> it's like a magician. "show me how you'd do that." >> rose: i kn, i know. >> and then you think w did i do tt >> butlearly having no prior experices, i have to say, chlie, when you have actors o this caliber who ar so connected with chemistry that was jt immediate and their rk was bone raw... i mean, it's a dam. >> but you'reright. i learned so much from him. and i'll never bethe safter having acted with him. ever. i learnea huge amount i hope it gs throh my whole life. >> rose: my normal instinct wod be to say "tell me what" but i'll let it go because of you. thank you very much. >> thank you, chlie. >> thank you, charli >> re: "crazy heart" opens today in limited lease. thank you for joining us. seyou next time. captiong sponsored by rose communications captioned by media acce group at wgbh access.wgbh.org ♪ ♪ if you've had a ke in the last forty ars, you've played a partn one of the larst... beverage recycng efforts in theorld. ♪